This year, Kalakshetra’s Kathakali Festival, titled ‘Kadha Rasa Sangam’, brought together three productions that explored the genre’s ability to connect with stories both familiar and unexpected.

The three-day festival began with two new works: On the first day, Sadanam Academy presented ‘Mandodari’, which tried to bring out Mandodari as an independent and consequential character whose role Valmiki RamayanaThe story, especially during and after the war between Rama and Ravana, is relatively limited. This play was not a direct dramatization of any traditional Ramayana theme, but was based on Sadanam K. Harikumar had his own Kathakali Attakatha, which was mainly composed of the story of Thunchath Ezhuthachan. Adhyatma RamayanamWith considerable dramatic elaboration of what traditional texts leave unsaid. Thus the central conflict became less Rama versus Ravana, but rather Ravana’s struggle with his passion for power, with Mandodari representing the emotional and moral world he had repeatedly ignored.

What stood out was the intensity of Mandodari’s grief and the emotional weight it carries through the story. Ravana was portrayed as strong, ambitious and uncompromising, who was indifferent even to Mandodari’s humiliation and suffering at the hands of monkeys. Yet, his memories of his duties as a husband momentarily brought out his love for her. Her intervention gives her a more consequential role in the narrative, even though she remains devoted to Ravana until his death and beyond.

The Sadhanam artists brought out these characterizations effectively: Mandodari’s suffering was particularly compelling, Ravana’s formidable nature came across strongly, while Rama was sharp and energetic in the battle scenes. Neela and Angada added humor and warmth with their lively camaraderie. Formally, the production remained based on Kathakali’s established traditions of music, rhythm and sequencing. Its distinctive feature lies in its narrative focus – a familiar Ramayana story centered around Mandodari.

On the second day, ‘The Old Man and the Sea’, directed by Neeraj GM and presented by Kerala Kalamandalam, was a short 90-minute presentation. It was an unusual Kathakali adaptation of Ernest Hemingway’s famous novel. Santiago, an elderly Cuban fisherman, ventures out to sea after 84 days without catching any fish and fights a giant marlin. Although he succeeds in killing the fish, the shark eats most of his fish during the journey home. Beyond physical conflict, Hemingway’s story explores endurance, dignity, and man’s relationship with nature. Neeraj’s production explored whether the highly codified language of Kathakali could portray the physical and existential struggle of an ordinary fisherman, a far cry from the traditional world of mythological and royal heroes.

Kerala Kalamandalam’s ‘Old Man and the Sea’, an adaptation of Ernest Hemingway’s famous novel. Photo courtesy: M. Srinath

The decision to dress Santiago as a fisherman rather than in traditional Kathakali attire provided greater realism to his character. His young apprentice Manolin provided a strong emotional counterpoint, while the personification of the sea added an imaginative dimension. The struggle to catch the marlin and the subsequent attack by the shark was one of the most powerful sequences of the production, using the movement vocabulary of Kathakali and vigorous percussion to convey their physical intensity.

The unusual three-part stage, consisting of a central stage with two spaces on either side, allowed performers to explore the space individually, but its effectiveness depended heavily on seating location; Viewers sitting away from the center are not always able to see the entire scene.

The festival concluded with ‘Rukmangada Charitam’ by Margi Theatre. It provided the joy of watching Kathakali in its full expressive richness. The production allowed the music, rhythm, acting and wide vocabulary of the cast to breathe. The musical quality of Padam was one of its major strengths. Full of melody and emotional variety, he provided the artists with a wide canvas, especially in the budding relationship between Rukmangada and Mohini. Considerable attention was paid to the makeup of their meeting, with their initial meeting evolving through extended excerpts of acting.

From ‘Rukmangatha Charitam’ by Margi Theatre. Photo Courtesy: B Velankanni Raj

This is, perhaps, one of the greatest joys of Kathakali: a few words in a padam can become the starting point for a whole world of expression. For example, a phrase describing Mohini’s face or her elephant-like gait can be interpreted and expanded upon. What may take only a moment in the text can become several minutes of extremely subtle dramatic exploration. The chemistry between Rukmangada and the Mohini players and their response to the singers and percussionists made these pieces particularly engaging. Under its erotic opening, Rukmangada Charitam gradually moves towards questions of devotion, duty, love and sacrifice. The progression from makeup to the intense emotional turmoil of the final episode gives the work considerable dramatic range.

The lack of English translation of the songs was a drawback. Kalakshetra usually provides translations during its Kathakali festival, but this year, they were available only on the opening day. Such translations are particularly valuable for audiences unfamiliar with Malayalam. The festival has also ended the useful practice of distributing handouts containing lists of artists and musicians along with brief summaries of performances. This is also restoreable.

published – September 22, 2026 11:31 am IST