Popular writer Sivasankari’s stories, written over a long and prolific career across a wide range of subjects, have long resonated with readers of Tamil periodicals. Selecting six from her vast repertoire, Dharani Komal has adapted them for the stage, presenting the collection as Sivasankari at the Vani Mahal theatre festival.
Each of the selected stories explored themes whose core emotional values would resonate with viewers. The manner in which the plays were compiled was equally engaging — beginning with simple, light-hearted anecdotal pieces and gradually moving towards more serious emotional territory, before culminating in a reflective, retrospective finale.
The stories were adapted to the stage by Dharani Komal | Photo Credit: Special Arrangement
Kazhudhai Theyndhu was a simple story about a housewife’s response to a newspaper advertisement seeking donations for a cause. Her instinctive generosity arising out of the situation slowly dissipates over time — a shift handled with gentle humour. The spontaneity and dialogue delivery by the actor Vidya Lakshmi, as Poorna, livened up the scenes with her spontaneity and dialogue delivery.
The second story, Sandai, which begins with a deep romance of a doting couple, gradually turns into serious antagonism, culminating in divorce. While it might have worked well as a short story, the dramatisation made the entire scenario appear contrived and unnatural. Shifting to a socio-political register, the next segment, Thalaivar Vandhar, was a narrative on the unexpected benefits that accrue from the cancellation of a minister’s visit.
Ayaah, which centres on how a widowed village woman is treated and taken advantage of by her own son and daughter-in-law, is a powerful commentary on the way many senior citizens are treated by their children today. Through subtle mannerisms, detailed characterisation and nuanced conveyance of emotions ranging from happiness to sorrow and disillusionment, Nanjil Revathi brought depth to her portrayal of Vadivambal. Details to the costume drape enriched the performance.
Deivam Ninru Kollum, a take on karmic retribution, and Theppakulam that takes a trip down memory lane, were intense, emotional stories that lent themselves well to theatrical exploration.
All stories were centred on women — their lives, emotions, and experiences | Photo Credit: Special Arrangement
Is it coincidental that all stories were centred on women — their lives, emotions, and experiences? Barring one, in which Vignesh Chellapan as Parama Guru had a major role, the male characters largely served as fillers in the narratives. The stories featured actors Sahasranaman, Siddharth, Kaavya, Sashikanth, Anu Kannan, Kannan Rudrapathy and Baby Saroja.
Deviating from the usual painted stage settings, the use of LED projections (visualised by Thyagarajan) added to the visual appeal. Lighting was handled by Chetha Ravi, and the music was composed by Viswaajay. Dharani Komal’s skilful direction — orchestrating the crisp flow of movements and scenes — combined with fine performances from the actors, sustained the momentum throughout.