Asavari Joshi, चारचौघी, Chandrakant Kulkarni, Char Choughi Marathi Natak, Char Chowghi Marathi natak, Charchoughi, Charchowghi, Deepa Shriram, Milind Safai., Prabodh Kulkarni, Prashant Dalvi, Pratiksha Lonkar, Sunil Barve, Vandana Gupte
It so happened that few days ago in August 2012, while i was lazing around on a sunday afternoon, i came across a program on TV. That program was about life of women, the role she has to play, the sacrifices that she has to make etc. The program was filled with skits from famous plays, poems, one-act plays and monologues.
During that program, the actors enacted one part of this play as well. I was wonderstruck by those 10 minutes. After i saw that sequence on the TV, i immediately recalled that this play was on stage when i was in my 10th grade. And i was not allowed to watch this play and was given the reason that the subject matter is for mature audience. After seeing / listening to those 10 minutes i quickly realized that i would not have followed this play had i seen it that time. I then decided to search for this play on the net. But to my dismay, there wasn’t much available on the net as well. On You Tube also, i could not see any clip of that play.
The second time i bumped into this play was when i came to London in September 2012, before Ganesh Festival. I was surprised to see that one of my friends (Archana Bhakare) was enacting a monologue from this same play and i saw few rehearsals of the same and the final performance as well, which was stupendously performed by Archana. I was again left spellbound after listening and watching that. And that’s when i decided that i definitely need to read this play, at least if i cannot see it anywhere. And my wish was also granted instantly, as Archana had the entire script of the play.
I began reading the play one night and then just voraciously read that complete play in one sitting. It was just amazing. The play is about four women and the life they are leading. These four women are from the same family; mother and her three daughters.
- Mother (enacted by Deepa Shriram) has given birth to these three daughters out of wed-lock.
- Elder sister Vidya (enacted by Vandana Gupte) is a mother of a baby girl and about to file a divorce as her husband is cheating on her and is having an extra marital affair.
- Younger sister Vaiju / Vaijanti (enacted by Asavari Joshi) has issues with her husband as she feels that her husband is irresponsible and has a casual or over-confident attitude towards life.
- Youngest sister Vini (enacted by Pratiksha Lonkar) is a college going girl and is in love with two men and advocates marrying them at the same time.
The story revolves around these characters and leads to an appealing end. Sunil Barve (Viren: boyfriend number 1), Milind Safai (Prakash : boyfriend number 2) and Prabodh Kulkarni (Shrikant : Vaiju’s husband) are the other male characters on stage. There are two more male characters which are backstage, one is Ashish, Vidya’s husband and Aaba, all the three daughter’s so called father.
The dialouges are so powerful and thoughtful that you tend to read them once again, after finishing them in one breath. The sequences are handled so impactfully that you just praise the writer unknowingly. This play is written by Prashant Dalvi. Hatts Off to him !!! Seriously. I have not seen the play but, i can definitely say that Chandrakant Kulkarni (the director) must have created masterpiece out of this, on stage.
There are certain sequences in the play that just leaves an indelible mark on your mind. For example:
- the sequence where Aai explains Viren about why mother is on the receiving end always and why is she called a ‘tension queen’,
- monologue where Vidya reprimands her husband,
- the sequence between Aai and Vini about the two men in her life and how to deal that situation,
- the scene where Vaiju expresses helplessness over the life she is leading with her husband.
One most prominent thing that i realized strikingly about this play was, all the characters are so well defined and so perfectly sketched that, you really start connecting with them very well. And that’s where the success of writer (Prashant Dalvi) lies.
After reading the play, now i seriously feel that if this play is put on-stage once again, i am sure this will still create the same magic that it created way back then. By the way, this play was first staged on 15th August 1991. And if you look at the content of this play, it is too ahead of times, for that period of early 90’s. I would still feel, even in these times as well. But i seriously would like to make an appeal to all the great marathi actors / directors to please bring this play back on-stage, so that people like me, who have missed it, will at least get a chance to see it. Amen..!
“Sukhanshi Bhandto Amhi” was indeed an enriching experience. According to me no other marathi play speaks so strongly and thought-provokingly on the subject of pschyo-analysis. This play speaks aloud on the questions that continuously are there in our subconcious minds but we purposefully try to ignore them. This play explores those repressed or unconscious impulses, anxieties, and internal conflicts. Each and every dialogue in this play is articulated so well and with so much meaning in it, that after listening them you are just left spell bound. Hats off to Abhiram Bhadkamkar for that.
The plot is about a character called Sadashiv (Chinmay Mandlekar), who is mentally unstable because he cannot ignore the honest and true questions that his mind constantly asks him and tries to question his conscience about matters relating to happiness, truth, honesty, success, hypocrisy in the current society etc. He happens to meet the psychiatrist, Dr. Shree (Girish Oak) and then the real journey begins. The conversation that happens between these two central characters throughout the play is just mesmerizing. The points that are raised by Sadashiv are so worth and thought provoking, that we too feel the heat of it while watching those. This play touches some of the basic topics like:
- Hypocrisy in the current society
- Relativity of Success
- Definition of Happiness
- Lost connection between mind, body and soul
And many such related topics.
The subject matter is so impact-fully handled that it disturbs you somewhere. Though the real pain that Sadashiv goes through is portrayed for the sake of the play, but each and everyone in the theatre personifies with it and that’s where the success of the play lies. The philosophy that Sadashiv presents is not presented in a complex manner and hence the lines that he says are interpreted very well and understood in a quick manner. The play basically talks about the simple things which we ignore, as we grow old or the other way round.
This play poses a very important question in front of all of us that: whether to follow that, what our mind certifies as correct or whether to ignore the inner voice and take a so called publicly accepted path, which may be wrong according to us or which may be against our wish. The main issue that disturbs Sadashiv is, can we not bring idealism in real life, that we read in books, that we see in movies, that we talk about. If not, then why do we live such double standard lives in the first place. (I instantly recalled “Dombivali Fast’, that movie as well speaks about this central issue, but with different perspective). For this question Dr. Shree (Girish Oak) tries to explain him that real world does not function in that manner.
I mean what Sadashiv says is perfectly correct but somewhere while watching the play I felt that what the psychiatrist Dr. Shree (Girish Oak) says is also correct. I mean you cannot always accept and act according to what our mind says or what is idealistic. Somewhere we have to be practical. That “being practical” may be against our wish but for our own good at the same time.
What I felt while watching the play, was Sadashiv (Chinmay Mandlekar) tries to see everything in black and white, whereas this world is grey and not completely white nor completely black. Each individual has his own sets of goods and bads. He/she leads life accordingly, justifying his/her acts based on his/her definition of good or bad. And hence its upto to the individual to decide what is good or bad for him/her. This is because this will ultimately decide whether he/she is happy or unhappy, whether he/she is successful or unsuccessful etc. That’s where this play suggests one wonderful thought, “Sukh perala tarach sukh ugavata..!” (If you sow happiness, you reap happiness) and going forward I will say, “Te pratekacha wegwegla asta” (It’s relative and hence different for everyone).
I will not touch upon all the issues which Sadashiv (Chinmay Mandlekar) has discussed in the play in detail, in this article. For that I strongly recommend everyone to really see this play, which will make you think over on our overall lifestyle and the way we look at success and happiness.
Lastly I would like to salute Chinmay Mandlekar and Girish Oak for their stupendous performances. Other characters have also played there part very well. Special mention of Abhiram Bhadkamkar for his thought provoking dialogues and his simplistic manner of writing. Guru Thakur has penned the beautiful background song which is very well sung by Suresh Wadekar.
Want some real food for thought…go watch “Sukhanshi Bhandto Amhi” …it will definitely make some paradigm shift…for sure!
Yes ! that was my reaction after i saw this play today. No Story, No Theme, No Subject…absolutely nothing…! It was crap. Though the play was housefull but this will not be the case in the coming weeks, i guess :-).
Plot on which the entire play is based, is itself flawed and not acceptable.On top of it the performances were not so great, except that of Sandeep Pathak (that too was loud but acceptable, considering the overall plot).
I think “Chaar Divas Premache”,”Eka Lagnachi Goshta” and “Gela Madhav Kunikade” were by far the best performances of Prashant Damle. The actions, the timing and the overall delivery of dialouge displayed in those plays were too good and that guranteed laughter always. But that dosent mean that he should repeat the same in all his other plays.In this play as well, i found most of his actions repeated. And to be specific most of them were from “Eka Lagnachi Goshta”. The scenes and his next moves were so predictable that i didnt feel like laughing even once.
Reema Lagoo was also ok. Nothing so great. I mean, you did not feel anything special while she is was on the stage. Also the comic timing was not that great.
The only notable (amongst them atleast :-)) performance was from Sandeep Pathak and his typical way of laughing.He is a very good actor and this he has proved from some his performances in serials like “Ghadlay-Bighadlay”, “Tikal te Political”, in the plays like :” Twenty-Thirty” and in the movie “Nishani Dava Anghatha”.
But after all said and done, i would still reiterate that the main culprit was the SCRIPT. If that would have been some what better and logical, then it would have been a lot more bearable and enjoyable experience.
Nothing much to write about.
Lastly i would only like to say that this play will only be enjoyed by the people who have not seen Prashant Damle’s earlier plays, that i mentioned above. For them its a real treat. Probably if they would be seeing Prashant’s performance for the first time, then script would even not matter for them. But for seasoned play/natak going crowd, this play is absolutely a NO NO…!
Its almost a week now, but still i couldnt stop myself from writing about this marathi play…!
“Zopi Gelela Jaga Zala” was worth a watch. This is not because of its starcast or not because its an old marathi cult classic or not because its presented in new format by all famous marathi actors. The main crux of this play is the performances and their timings especially. Actually the plot of the play is not that great, but the way director (Vijay Kenkare) has directed the play, hats off. All the characters have played there part with utmost sincereity.
Bharat Jadhav, Sunil Barve, Viju Khote, Bhargavi Chirmule and all others were simply superb. Actually when the play starts, you dont immediately connect with the plot becasue Viju Khote’s character start dialouges in Hindi and you feel out of place for first 15-20 mins. But then the play just takes you on a hilarious ride for 3 hours.
I would specially like to mention about the actor (sorry dont know the name) who played the role of detective. I think i laughed a lot only during his presence on stage. There was nothing great about the dialouges that he delivered, neither was his appearance comic. The only thing special was the uncanny manner in which he used to say “Turr uurrrrrrr urrrrrrrrrrr”…remembering the audience about the background music of a suspence movie. Actually this must be sounding childish now but once you are in the story and suddenly that actor, in a complete off beat timing, starts that tune, the hall would roar out in laughter.
Bharat Jadhav and Sunil Barve were at there all time best. Yes i forgot about the doctor played by Satish Pulekar. He too was great.
All n all, the play was great and we enjoyed a lot. In this era of “2 Anki” natak, this is a special treat of “3 anki” natak. Dont miss this one.
Last but not the least : A “Bada Wala” thank you to Sunil Barve and the entire team of SUBAK for bringing such good oldies in a new and entertaining format…GREAT!!!
P.S : I still dont understand why specially people from Pune, literally ATTACK the Wada-Pau during the interval, as if they have never had one in there entire life before…strange but true…(MANO YA NA MANO)!!!