History is always interesting in its hidden stories. One such interesting episode was in the Mysore kingdom, which becomes the subject of Samsa’s play. Vigada Vikramaraya (1925), is based on the political turmoil the Wadiyar dynasty underwent during the time of Raja Wadiyar II.
As the title suggests, the story revolves around Vikramaraya, a chief commander in the Mysore court.
Vijayanagara Bimba performed this play at the Rangaantaranga festival organised by Antharanga at Seva Sadan, Bangalore. Though the opening music set the mood for a historical, the first scene lacked energy as the dancers were devoid of expression. The play could have shot off from the first scene where Vikramaraya is reprimanding his two servants.
Sridhar who played the role of Vikramaraya was brisk in his acting. He was adroit in his body language and at showcasing cunningness and sarcasm.
The audience empathised with Thimmajammanni, mother of Raja Wadiyar II, as the acting by Deepika was deeply moving. Along with facial expressions and gestures, her dialogue delivery was powerful. Vikramaraya plots against the king, holds Ranadheera, the king’s cousin captive. When Ranadheera and his friends are planning to fight out Vikramaraya’s domination over them and the people of Myosre, Vikramaraya unexpectedly gets killed.
It is gripping to listen to the response of Ranadheera when he hears the news of his opponent’s death. When everyone else celebrates his death including Thimmajammanni, Ranadheera tells his friend Nirisha, “Notwithstanding what he has done to us, this is not at all a death that befits a warrior.” He regrets to have witnessed such a death despite Vikramaraya’s misdeeds. Ranadheera ascends the throne as Kantirava Narasaraja Wadiyar I. Whereas Vikramaraya, despite brilliance and authority, stands out as a brutal minister.
The director, S.V. Kashyap has kept the play close to the original. His addition of a folk song in admiration of Ranadheera is entertaining but turns out to be too long.
Vikramaraya’s death in the original text seems to create more suspense and tension than what was shown in the play.
Samsa writes the murder scene in a way that arrests the reader: “the torch goes off...in utter darkness, there’s a sound of a body collapsing, of a knife swinging and a coconut-like thing falling ghastly on the ground.”
Light effects by Dhanush was notable.
Over all, the play was promising. It can be made crisper for future shows.