By Binda Gokhale
The Mricchakatik of Shudrak, performed on 16th and 17th November 2024 by Melbourne Indian Theatre (MiTheatre) at the Knox Community Arts Centre, was a sensory delight.
Presented entirely in Sanskrit, the three-hour, 10-act production captivated the audience, who enthusiastically engaged with the story, performances, drama, and humour.
The journey of this production began over two years ago as an idea in the minds of its two creative artists, Mandar Gokhale and Prashant Joshi. Both passionate about the arts and theatre, they initiated the scripting of the story and the gathering of the cast. The cast comprised theatre enthusiasts from the community, offering a diversity of experience in theatrical productions and knowledge of Sanskrit. For many, it was also a creative outlet. Online practice sessions in Sanskrit during the COVID lockdowns provided a welcome distraction, fostering a resurgence of interest in the ancient language.
On stage, the production showcased artistic simplicity through its clever set design. Presented as a storybook, fold-out pages served as backdrops, seamlessly transforming into scenes such as a pauper’s house, a garden, and a palace. The functional bullock cart, adaptable for different scenes, drew applause from the audience.
The adapted script remained true to the original text, presenting the story in its intended era and highlighting the everyday lives of that time. Themes of love and moral loyalty contrasted effectively with those of deception and entitlement. The underlying philosophy felt relevant even today, prompting audience reflection. Scene transitions were beautifully interwoven with brief dance performances by Arpita Kaole, portraying Kamadev/Fate.
Each cast member fully immersed themselves in their role. Initial nervousness quickly gave way to clear, confident, and emotionally charged dialogue delivery. Two screens on either side of the stage provided concise English translations, but many audience members noted that as the play progressed, they grew more familiar with the Sanskrit language. This, combined with the cast’s strong acting, often reduced reliance on the subtitles.
The younger actors in supporting roles—Siddharth Korade, Arjun Bhiwarkar, and Om Charegaonkar—won admiration for their performances. Shashank Upadhye stood out as Shakar, displaying a natural ease with dialogue and an impressive range that brought out the comedic elements of the script. Pranjali Karve, as the desirable courtesan, skilfully captured both the vulnerable and flirtatious aspects of her character, delivering her lines with confidence.
Ashish Vadujkar’s portrayal of Charudatta, the protagonist, took the audience on a moving journey of lost love, righteousness, and generosity.
This production deserves high praise. Entering the theatre, I wondered how a three-hour Sanskrit play would hold the audience’s attention. I am happy to report that time flew by, and the audience remained captivated as the story unfolded before them.
Contributing Author: Binda Gokhale is a seasoned senior executive and non-executive director with extensive corporate finance, strategic planning, and governance expertise. Passionate about community engagement, she leverages her professional acumen to influence public policy and advocate for customer and client outcomes, driving meaningful contributions in both corporate and community sectors.
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