Kala Korner

It's encouraging to see the Tower Hall Theatre Foundation getting quite active under the stewardship of a seasoned dramatist Douglas Siriwardena. As Director-General, he is introducing several activities, which are gradually attracting more and more drama fans.

Pride of place is given to a programme to remember dramatists who have contributed towards the progress of theatre in this country. The programme began early this year with dramatists of yesteryear, starting with John de Silva and Charles Dias - two pioneering dramatists who staged plays at the Tower Hall theatre in its heyday at the turn of the 19th century. They used the theatre as a vehicle to spread patriotic messages and their plays were based on history and legend. The next was to evaluate C.Don Bastian's contribution, which was followed by one on Professor Ediriweera Sarachchandra. Last month the focus was on Dayananda Gunawardena ('Nari Bena' & 'Gajaman Puwatha' fame) with renowned playwright/actor Jayalath Manoratne delivering an address assessing his work.

The commemorative programme in October was Sugathapala de Silva, the founder of 'Ape Kattiya', whose 'Boarding Karayo', 'Tattu Geval' and 'Harima Badu Hayak' are still being talked about. Jackson Anthony who won the Best Actor award for his performance in Sugathapala de Silva's 'Marazad' was the keynote speaker.

Bandula Jayawardena is to be remembered in November.

Director-General Siriwardena is also working on a regular musical evening to give a taste of 'nurti' songs of the old Tower Hall days. "I am keen to make Savsiripaya (the Foundation headquarters) a meeting place for theatre-lovers when they will be able to gather and have a chat once in a while,” he says.

Meanwhile, the charges at the Tower and Elphinstone which are managed by the Foundation have been reduced from August this year.

Come November - a Tamil version of 'Maname' will go on the boards. A most significant event indeed! The event commemorates the 50th anniversary of 'Maname', the epoch -making drama produced by Professor Sarachchandra.

According to the Professor's wife Lalitha, the drama is being translated and should be ready to be staged in November. "We have many plans for the future. We have unearthed at least 35 manuscripts written by the Professor. These will be produced in the next two years," she said at the recent gathering to mark his tenth death anniversary.

On November 3, the day 'Maname' was first staged, there will be a performance at the Lionel Wendt, the venue of the first performance in 1956. Lalitha would have loved to have the original cast but sadly, the key players are no more.

The prince, Ben Sirimanne, the princess, Trilicia Abeykone, and the Veddah king Edmund Wijesinghe who made such an impact on the opening night have all left us. So has Charles Silva Gunasinghe Gurunnanse who we remember, enjoyed that evening thoroughly at the Wendt playing the 'maddala' drum. And of course, it was a night to remember for everyone, particularly Dr. Sarachchandra who was seated in a corner of the stage stringing the 'tampura'. The Wendt had virtually been transformed into a traditional 'nadagam maduwa' in the South.

The 'pothe guru' Shyamon Jayasinghe now domiciled in Australia will come over to join the new cast. Hemamali Gunasekera, now Gunasinghe, is the other survivor from the original cast. She played the princess alternately with Trilicia.

Recalling the opening night, Shyamon wrote in 'Applause at The Wendt': "I commenced singing the 'thodayama' which is the traditional supplication to the deities to ensure our success. I remember how both forbidding and electrifying it was to face an audience in a dark hall with just one spot falling on me, the cynosure of all eyes and ears. I had no previous experience in stage presence. Even before coming over to the Lionel Wendt that day I simply had no clue about my role. I can tell everyone now that the theatre and the audience seemed to give me sudden inspiration that night. Empathetic liaison was the key to the role."

Professor Tissa Kariyawasam hails 'Maname' as a successful effort to re-present the nadagam tradition as a sensitive work of art to contemporary audiences. In Sarachchandra's team to achieve this feat were Dr. Siri Gunasinghe, who designed the stage set and costumes, Charles Silva Gunasinghe Gurunnanse providing the traditional melodies and performing the role of a consultant, Vasantha Kumar, who created the dance of the forester based on 'kolam' dance movements and the war dance, and of course, the players. Peter La Sha, a student from USA and Mahinda Dias did the lighting. Aileen Sarachchandra was in charge of make-up.

Though the drama became very popular (at least after the reviews appeared since the Wendt was only half full on the opening night mainly with invitees), Tissa says Sarachchandra had a difficult path to trudge. With its popularity many dramatists were prompted to follow the same path. "The government which came into power in 1956 as well as successive governments were of the view that Sinhala drama should stop with the 'nurti' and acted accordingly.

“In the meanwhile, after 1961, Sugathapala de Silva created a new tradition based on the middle class urban life. Dramatists like T.B. Ilangaratne and G.D.L. Perera had started the trend a little earlier. In fact, on the nights 'Maname' was staged at the Wendt on November 3 & 4, 1956, two of their dramas were being staged elsewhere in the city," Tissa recalls.

By the time 'Maname' arrived, the Tower Hall had ceased to exist. Then there were other provincial theatre groups - Minerva in Negombo, Accordians in Jaela and Victory Players in Kandana. Minerva moved over to the cinema and returned to the stage.

Among those who followed Sarachchandra in their own style were Gunasena Galappatthi, Henry Jayasena, Dayananda Gunawardena and Bandula Jayawardena. Sarachchandra himself continued productions based on 'sokari', 'kolam' and thovil' until he returned to the 'nadagam' style with 'Sinhabahu' in 1961.