Today is the 50th death anniversary of Pammal Sambanda Mudaliar, the father of Tamil theatre as we know it today. In an era where Special Dramas full of musical content ruled the roost, it was he who laid down the grammar and framework within which theatre would be performed and continues to be performed today.
Though he is best remembered for his plays, his contribution towards documenting Tamil theatre of his times is equally worthy of commemoration. His memoirs “Nataka Medai Ninaivugal” which traces his on-stage career and the growth of the Suguna Vilasa Sabha is a treasure trove of information on how Tamil theatre was performed in his days and remains a much sought after book for research on the subject. However, a book that is little known today is “Naan Kanda Naadaga Kalaignargal”.
First published in 1964 (which makes it 50 years too this year), this slim sized book running to 56 pages contains brief sketches of various stage actors of his times. What makes the documentation remarkable is that while it includes the stage careers of matinee idols such as M.G.R, Sivaji Ganesan and M.K.Thyagaraja Bhagavathar, it primarily covers sketches of stalwarts of the stage such as Govindaswamy Rao (A Marathi who founded the Manamohana Nataka Sabha), C.Cunniah,(the man considered to be a pioneer in mythological plays and renowned for staging 1008 continuous shows of Dasavatharam at the People’s Park),T.P.Krishnaswamy Pavalar (his one time protege and later founder of the Pavalar Boys Company) and Balambal (an artiste who ran an all ladies drama troupe and was famous for donning the role of Manohara in Sambanda Mudaliar eponymous epic). Also featured are V.V.Srinivasa Iyengar, his old friend and later Judge of the Madras High Court and S.Satyamurthi, the great orator and Congress leader who was a member of the Suguna Vilasa Sabha.
Sambanda Mudaliar’s assessment of Srinivasa Iyengar’s acting capabilities (rather the lack of it) make for amusing reading. He says that despite being known for his sharpness, Srinivasa Iyengar’s memory powers were not all that good and that prompters had to be arranged on either flank of the stage to prop him up whenever he slipped on the dialogues. He however adds that he always made it a point to invite Srinivasa Iyengar for the Grand Rehearsal before every play to take his feedback and work on it as he was a very good critic. He also adds that Srinivasa Iyengar once wrote 10 one act plays for the Suguna Vilasa Sabha.
Satyamrthi however comes in for effusive praise from Sambanda Mudaliar for his acting skills. Initially given small roles, Satyamurthi graduated to bigger roles with his bold acting. He was also one of the mainstays of the Sanskrit division of the Suguna Vilasa Sabha, donning many important characters in plays in that language. Sambanda Mudaliar says that Satyamurthi also donned the role of Manohara in a few shows and that in his first show in the role, he insisted that Sambanda Mudaliar stay in the flanks and encourage him, which he did.
Packed with amazing detail, this book is indeed a treasure trove of information and is a worthy tribute to the people who gave it all for their passion, often in exchange for little reward.
Tamil stage 