Balamani Ammal walked on stage like a giant

One of the many forgotten Tamil theater pioneers is Kumbakonam Balamani Ammal, who broke the glass ceiling and was one of its early superstars, he remains an interesting personality, most of the details of his life and times are scant. Born in a Devadasi family around 1870, Balamani Ammal learned singing and dancing at an early age. It is not known how she got into theater (although TK Shanmugam mentions her being a student of Shankardasa Swamigal). In the 1890s, he along with his sister Rajambal started a theater group named Edward Theatrical Company, better known as Balamani Drama Company. It was the first all-female theater group of its kind, and included underprivileged and economically deprived girls. Balamani Ammal took him under her wing and became his guru.

The troupe mostly staged mythological plays, although Balamani Ammal is credited with being the first to raise social themes in Tamil theatre. He performed the first social play Kashi Vishwanath Mudaliar Dambachari Vilasam.

Famous drama teacher and playwright M Kandaswamy Mudaliar (father of actor MK Radha) was associated with Balamani Ammal’s theater group as a writer and director for a long time. He adapted the work of novelist JR Rangaraju Rajambal In a play by the same name; It became one of the troupe’s major successes. Balamani Ammal is also credited with introducing petromax lighting on stage and reserving separate seating for women in his performances. His fan following extended to various sections of the society, including many landowners, businessmen and even royalty.

Balamani Ammal was born in a Devadasi family. Photo Credit: Special Arrangement

a report in The Hindu During his visit to Trivandrum for the demonstration in 1903 he wrote that “with the permission of His Highness the Maharaja a carriage and pair were placed at his special disposal”. His shows attracted huge crowds, as evidenced by the special trains, known as Balamani Specials, that were run to cater to the needs of his audiences.

Balamani Ammal lived a life of luxury. His residence at Kumbakonam had a large entourage of over 50 attendants and is believed to have had a swimming pool, marble fountains and gardens. Her beauty attracted fans from far and wide. Quoting her father in a brief article on Balamani Ammal, MK Radha writes that when she would walk up and down the balcony after washing, a huge crowd would gather to watch her dry her hair. Famous composer Dharmapuri Subbaraya Iyer also composed Jawali In praise of him.

Balamani Ammal was generous when it came to charitable works. A 1910 report in this paper talks about many of his works and his donating the proceeds of his performances to the construction fund of the Big Conjeevaram Hindu Girls High School during his stay in Kanchipuram during that period. It also said that he had promised to dedicate at least one performance every month for the benefit of the school.

Adi Kumbheshwara Temple in Balamani Ammal’s hometown, Kumbakonam. Photo Credit: Wikimedia Commons

The French author Julien Viaude, who met her in 1899, writes about her charitable nature, mentioning her contribution of thousands of rupees to a group of European women for a Hindu orphanage. He is also said to have donated generously to many temples in South India. One of his contributions, which continues even today Thirukalyana Mandapam Inside the Adi Kumbheshwara Temple in his hometown Kumbakonam. The Kumbhabhishekam of the temple is scheduled on December 1. census of india 1961 (Volume 9) According to the publication, this beautiful one-storey structure cost around Rs. It has been told. 40,000 in those days.

Balamani Ammal’s last days, unfortunately, were far from his glory days. He died in relative obscurity around 1935, after having moved from his palatial residence in Kumbakonam to a simple residence in Madurai. According to MK Radha, she was 65 years old at the time of her death.

Balamani’s pioneering journey and success despite all odds is remarkable and memorable for his perseverance. Sadly, more than nine decades after her death, she remains a forgotten footnote in the annals of Tamil theater history.