Directors Note
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Ammavra Ganda
This probably is the simplest of the scripts with minimalistic everything. From sets to cast and from language to theme. In this play he talks about the real concept of feminism. The play revolves around two couples who know each other from college days. The boys know each other from football and cricket team and the girls from the history classes.
The roles and lifestyles of then gentlemen and ladies is well depicted in this play and for all our surprises it has not changed much from the time he has written it. Punch lines like Hen-peckkeddu from Cox-townoo are found everywhere. The fun filled social comedy play has strong message about life and spending life with your partner. His thoughts on feminism should be understood by the pseudo feminists who litter our society with westernised thoughts.
Cast
I was lucky to work with this fantastic onstage and offstage crew.
Ajith has this uncanny knack of executing comedy roles. Branded for his serious roles on TV soaps this I hope would be a welcome change to him and his regular viewers. He being the most famous face of us, never let his stardom overtake his humbleness. He plays as Ganda (husband) alias Subbanna in the play.
Srinath Vasistha is a known face for who ever watches any Kannada channel. His interpretation and his voice makes him stand out in any gathering. Hes also the organiser of Hasya Ranjini one of our offerings for corporate shows. His depiction of Yajamanru or Narsimhiyah suits his real life condition too. He holds the stage with his personality and most laughs are credited to him.
Chandana is hard working and did the best possible rendering of her charecter Hendti (wife) aka Kamala. Her rendition of the character won applause and many tears in the first run. She plays the soft but well educated lady who renderst to all the needs of her husband and feeds his MCP attitude and rather large stomach.
Surabhi plays Ammavru by far the largest character in the play. This bossy character was rendered to perfection to the same lines of the script. Her loud voice and manly body language suited the role perfectly. The one whom I thought would be the toughest nut became the darling of the audiences.
Chandan did backstage as well as Gentleman which is a small character helping to introduce Ammavru. He has tremendous interest in theatre and wants to be a part of all Fourth Corner Productions. His rendering of character did win many applauses and his prop work did reduce large burdens from my back.
Crew
Crew happens to be the producers and production team of this show. One thing which all of us including me should learn from this gang of young kids is “give theatre everything, and except nothing from it”. Like always and like most of my experiences of back stage it still remains dark and thankless!
Kishore is one of the super smart technical guys I have seen in quite some time. He understands what ever the production needs within no time and starts giving his inputs instantly. Am lucky to find him to rig lights for me.
Poornima helped us in assembling rehearsals to ticketing. Her presence was essential to handle the ever building crowds at the box office.
Ashwin did help me in concentrating more on the production. He handled the entire money aspect and was literally the stage manager for the show. He too is a good find for Fourth Corner. With his young energy he enthuses all around him.
About the Author - T. P. Kailasam (1884 - 1946) T P Kailasam was born July 29, 1884, was one of the foremost playwrights and writers of Kannada literature. His sense of humour, contribution to Kannada theatre won many hearts and earned him the title Prahasana Prapitamaha (grand old man of humorous plays). Kailasam wrote many plays, initially criticised for modern use of Kannada language in his plays, His plays became very popular, and his works are accepted to be few of the best works ever written for the Kannada theatre in its history. His plays are relevant even to this day and have a huge following among the connoisseurs of Kannada theatre.
Born a Tamilian and educated in Great Britain (his Kai days), Kailasam on his return to India just to work for Kannada. His life was dedicated to theatre and his contributions revolutionised it. His sense of humour and its application in his plays left an everlasting impression on Kannadigas.
He opposed the company theatre’s obsession with mythology and stories of royalty and shied away from overloading his plays with music. Instead, he introduced simple sets which were realistic. We could still see many theatre groups like ours still doing Kailasam only for this reason. He laid the perfect platform and foundation for current amateur theatre. We thank T P for his everlasting works which we intend to stage for quite some time to come.
T P Kailasam’s Theatre Works
Kannada
Tollu gatti (1918) - First Play
Poli Kitti (1920)
KaLamna Iklu (1929)
Olavina Kole (1929)
Bahiskaara
Nambaaysu
MommagaLa Muyyi
seekarne saavithri
nam braahmanke
nam company
Harishchandrana Himsa
Ammavara Ganda
Bandwalavillada Badai
Huttadalli Hutta
Home Ruloo
Tavarekere
English
The Brahmin’s Curse
Purpose
TOP
P D Sathish Chandra
This is Sathish's second production under Fourth Corner banner. He has been working with different theatre groups from India at different times. After his hibernation or disappearance for three years, the Ranga Shankara festival 2004, put him back in line with his passion for theatre. He still is known for him being a theatre critic for newspapers and with special reference to Times of India. He still continues to write for newspapers on theater and related issues.
Acknowledgements
First and foremost I should thank all cast and crew members of this production without whom my dream of staging this play would have gone in vain. Apparently the last time this play was staged it was 19 years back with all-time enviable cast!!! First thanks goes to my uncle P R Sadasiva, who a strong supporter of classical music gave his beautiful house for our rehearsals. Both my uncle and aunt Tara took care of us while we were rehearsing till late hours.
Deepthy who with her tight work and play schedule took her time off to do costumes. Big thanks to her too. Our sole sponsor, Manjunatha Enterprises who's interest in theater supported us in the hour of need. I also would like to thank all of YOU who visited this page and read through the literature created to support our play.
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