‘Lehron Ke Rajhans’: Theatrical Resurgence After Setback
3 min read
Shimla, Nov 3 Ritanjali Hastir
In a remarkable theatrical resurgence, the Gaiety Dramatic Society of Shimla has rebounded with their latest production, “Lehron Ke Rajhans,” directed by the talented Devender Sharma, after the underwhelming “Yudh aur Budh.” This seventh production attests to the age-old adage that “when you hit rock bottom, remember that rock bottom can also be a solid foundation on which to build and rebuild.”
Mohan Rakesh’s play serves as the foundation for this intricate narrative, delving into the inherent imperfections of human commitment. It explores the delicate balance between existence and non-existence, ensnaring individuals in a perpetual state of dilemma. The central storyline revolves around a man’s unwavering love for his enchanting wife, as he strives to maintain harmony in their relationship.
The captivating wife, confident in her allure, firmly believes her husband’s heart will remain loyal, even in the presence of the mesmerizing Gautam Buddha. However, the husband embarks on a transformative journey to meet Buddha, only to find that the bonds of his wife’s sensuality still cling to his heart. Even as he ceremoniously shaves his head in initiation into Buddhism, his love for his wife persists, albeit reluctantly.
Upon his return home, the husband’s tonsured head shocks his wife, leading to her rejection of him due to his altered appearance, which falls short of her aesthetic standards. He confesses his initial infatuation for her during his Buddhist initiation, but upon his return, he finds himself irresistibly drawn to asceticism. Consequently, he leaves their home, leaving his wife in profound consternation.
This profound and intricate narrative navigates the depths of human conflict and desire, illuminating the contrasting paths of renunciation and worldly existence.
The performance itself stands as a testament to the actors’ dedication and skill. Notably, the portrayal of the Bikshu left a strong impression, with impeccable timing and a natural delivery that transcended the boundaries of mere acting.
Sundari, portrayed by Tanupriya, captivated the audience by skillfully conveying the character’s diverse emotions, including pride, jealousy, anger, and romance. However, her final cry could have been more impactful, especially when Nand raised his voice, venting his anger and shattering her ego.
Rupesh, in the role of Nand, deserves commendation for his performance, though there is room for improvement, particularly in Act 2 during his discussion of a hunting encounter. Addressing the treble in his voice and enhancing his dialogue delivery would elevate his portrayal.
The set and costume design exhibited precision and attention to detail, although minor oversights, such as the swing angle overshadowing Sundari on occasion and the gold anklet on her feet, which contradicted religious symbolism, were noted.
Lighting played a pivotal role in setting the atmosphere, with most aspects brilliantly executed. However, minor adjustments, such as using torchlight when Nand requested fire to light a lamp and gradually increasing the lighting as the lamps were lit, would have enhanced the overall ambiance.
The supporting cast contributed effectively to the production’s success, skillfully fulfilling their roles.
In conclusion, “Lehron Ke Rajhans” is a production of exceptional quality, capable of holding its audience spellbound through impactful performances. The Gaiety Dramatic Society’s bounce-back showcases their resilience and dedication to delivering compelling and thought-provoking theater.
