Among Indian classical theatre forms, it is arguably Koodiyattam that gives the actor the biggest canvas to showcase his acting prowess. It gives the actor the freedom to freeze the play and act out in elaborate detail an episode or a sub-plot using devices such as pakarnnattam, which represents multiple characters. His co-actor conveniently leaves the stage so that the audience can focus totally on the main actor. Such devices were amply on display at a performance of Karnabharam Koodiyattam staged by Nepathya, Moozhikkulam, at Lakkidi on November 6.

The one-act play by Bhasa, who is believed to have lived in the third century AD, unfolds through Karna’s thoughts as well as through his conversations with King Salyar, his charioteer.

Margi Madhu, who also choreographed the three-hour play, impressed in the role of Karna and brilliantly essayed the mental agony of the tragic hero of the Mahabharata. The story takes place during the Mahabharata war after the death of Bheeshma. Karna sets out for the battlefield with Salyar, played by Nepathya Sreehari Chakyar. This was the day Karna was waiting for all his life; a chance to take on Arjuna. However, the revelation of his true parentage by Kunti, mother of the Pandavas, causes him much anguish.

The two sequences that Madhu acted out in elaborate detail were Kunti visiting Karna, and his being cursed by his illustrious guru Parasurama. One can see a gamut of emotions flash on Madhu’s face as he alternates between Karna and Kunti. In the nearly one-hour sequence, the respect and affection that light up Karna’s face when he first sees Kunti approach turns to consternation and disappointment, followed by pathos, anger and resignation.

Margi Madhu as Karna and Sreehari Chakyar as Salyar (left)   | Photo Credit: Achuthan TK

In narrating the story of how Karna was cursed by Parasurama, Madhu deftly portrays Karna, a bee and Parasurama in turn — Karna being stung by the bee and bearing the severe pain of a bee sting, the bee sinking its barbed stinger into Karna’s flesh, and Parasurama waking up to see blood flowing and angrily concluding that Karna who bore so much pain must be a Kshatriya.

Sreehari as Salyar, with a limited role and time on stage, did well in complementing Madhu.

Superb accompaniment

Percussion support, which resounded in the battleground scene but fell to a whisper as Karna sinks to melancholy, was provided by Kalamandalam Manikandan and Nepathya Jinesh on the mizhavu, and Kalanilayam Rajan on the idakka.

This was the first ever Koodiyattam programme organised by the four-year-old Ottappalam Kathakali Rangasala.

The sub-titling of the show using a projector was welcomed by many in the audience who said this highly stylised art form would have been inaccessible to them but for this commentary.