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 An enlightening experience - Dr. Lata Surendra e-mail: latasurendra@hotmail.com August 29, 2024 18 Days - Dusk of an Era, Dance theatre musical by Prabhat Arts Bal Gandharva Rang Mandir, Bandra, Mumbai, August 2, 2024 The dance theatre musical '18 Days - Dusk of an Era' by the directors Sharat R Prabhath and Bharat R Prabhath, made light of a rainy day as it had sensitive rasikas rooted to their seats in what was the recreation of the Kurukshetra War based on the epic saga of the Mahabharata. The musical that has captivated audiences in Bangalore, Delhi, Goa and several other states, won the hearts of the witnessing Mumbaikars. With over 50 artistes that included martial artistes, dancers, aerial and levitation techniques and an impressive stage craft, the battle field of Kurukshetra was brought to life. Structured and connected in the form of a dialogue between King Dhritarashtra (who was born blind) and Sanjaya (having a divine vision), his advisor, and chariot driver, the choreography through each day used visuals with Sanjaya narrating each incident of the Kurukshetra War fought in 18 days, as and when it happened. Dhritarashtra's questions, doubts, his lamenting, awakening to the destruction caused by the war, to his sons, friends, and kinsmen becomes our own as we are led to answers in the unfolding wisdom sieved through 18 days. It was the powerful scripting that was the plus point of this production. Words that struck home resonating with meanings meant to awaken and awaken it did! It carried the 'Katha' story telling aspect to a different level where one seemed to be invited into the imaginative landscape of Sharat Prabhath and Bharat Prabhath at their creative best.  Sharat Prabhath and Bharat Prabhath With a skillful usage of props, lighting, smoke, martial arts, contemporary dance moves, laced in very simplistic Kathak (that did not recourse to the routine of forgetting the theme in the craving for claps), semi classical moves, well-coordinated, costumed and orchestrated patterns, the '18 Days' dance musical opened out with the power, potency and dramatic impact of the word, complimenting body kinetics and innovative effects as a story one could see unfolding and one could relate to absolutely with eyes open as it were. As artistes, one always expects and awaits an Arjuna on stage to impact with his dilemma caught in the twilight zone cornered in the crossroads of 'to be or not to be' - a moment it always is, of a 'moving stillness' subtle and stirring. But the usage of angika with minimal mukhajabhinaya in the character had one's heart connect to the dialogue stirring and creating the pathos, confusion, doubts and anguish of Arjuna in the bridging words, resonating with depth and the focus shifting on the embalming picture of equanimity - Sharat as Lord Krishna - effulgent in the lighted shadows, timeless, pleasant, calm, unperturbed. With its interplay of emotions, complexities of human relationships and man's perennial dilemma between karma and dharma, the Mahabharata has unfailingly inspired many interpretations. But in spite of a feast of props, the essence of the WORD it was that stood out. The costumes, coordination and choreography was at its best in the13th day as Abhimanyu entered the Chakravyuha. (When in Subhadra's womb, Arjuna had explained how to enter and exit the Chakravyuha in war but a tired Subhadra had slept off after the entering was explained. Hence the baby Abhimanyu knew before his birth how to enter Chakravyuha formation but he never learnt how to exit it). The Padmavyuha or Chakravyuha as we know was the formidable military structure that resembled a labyrinth comprising of several defensive walls and in the sequence, Abhimanyu recollecting what he had heard and penetrating into each layer was absolutely commendable. The breaking into the sixth layer of the Padmavyuha with young Abhimanyu cornered and attacked simultaneously, awakened one to the depravity in unrighteous warfare. Against the righteous rules of warfare, the Kaurava sarathis Drona, Karna, Kripa, Kritavarma, Ashvatthama, and Shakuni attacking him mercilessly lingers on in my mind's eye. As one journeyed into the cause effecting downfall of each character through each day, the 'why' behind it all was very clearly highlighted and through the smoke at the end that engulfed the stage and the audience as well, that also covered the dancers in white and focused out intermittently on embodying frames of Krishnavararan from Leela Manushya Vigraha to the opulent Sachidananda Vigraha, the reality that Dharma is the essence of all karma dawned absolutely. With it as the foundation of life, as Krishna says, one only needed to surrender unto his lotus feet - "mām ekaṁ śharaṇaṁ vraja." For those who missed, I can say that a day should be kept aside for the dance musical '18 Days - Dusk of an Era'. It is an absolute must watch to move one's soul. I am glad through the lashing rains I could receive it as light and return homeward with the skies raining light! Kudos to the talented brothers Sharat Prabhath and Bharat Prabhat, the duo who embrace the credits related to all aspects of the production magnificently besides performing and congratulations to the committed galaxy of performers who gave unto light its form as a truth sieved through 18 days to cherish as the timeless.  Dr. Lata Surendra is a performer, mentor, an imaginative choreographer, a sought after curator, a dance journalist, a committed independent researcher, a sensitive poet and in the field of dance for over six decades. |
