 The Insight
 Can the blind lead the blind? Can a Tamil play, of just about 75 minutes duration, with forceful dialogue, impress on the sight-seer that blindness too can shed light and lustre, if only one knows how to make light of a mere visual impairment? Seeing is not all! Being viewed by others with respect and appreciation matters most.
Manasavini (L Sangeetha) is blessed with the gift of soul-stirring music. She accepts her blindness as a fact of life she has to live with, without bitterness and self-pity. Gautam Siddharth (Ravikumar) on the other hand, though 'endowed' with the same special challenge, views his lack of sight as a curse, a sign of God's injustice. He asks, "Doth God exact day-labour, light-denied?" (Milton: 'On his blindness'). Manasvini corrects him: "Those who best bear His yoke serve him best." Optimism, despite burdensome stumbles, versus pessimism, wallowing in cussed self-pity, is the keynote of 'Nethra Dharisanam', the Tamil play currently being staged by 'Mother Creations' at several city venues. Optimal optimism is the winner, we are taught. Agreed.
The Lord of the Seven Hills 'sees' His devotees every Thursday, specially adorned with gold eyes. On all other days we see Him. Extend this inner principle with wider perspectives, if you will. If you cannot see the world physically, why not instead be gazed at by others as a role-model? That is what 'sight' means -- be seen praiseworthily by others. Look at it this way too - are we not often blamed, "Have you got eyes?" Look at life objectively, not merely blindly!
Manasvini, Gautam-Siddharth, and 'JK' (M.Jaya Kumar, the producer of the play) as the 'common friend', live their roles and act with deep perception and responsibility. 'Nethra Dharisanam' won the 'Best Drama Award', the second-'Best Actor/Actress' award (Ravikumar-Sangeetha), the Best Story Writer Award for author C V Chandramohan, and also the 'Best Play Award' for winning most awards overall -- at the 16th Summer Drama Festival Competition ('Kodai Nataka Vizha'), recently conducted by Karthik Fine Arts.
The one-set stage façade was neatly divided into three parts - Mansavini's room, the Recording Studio, and Siddharth's room, each focussed on by spot-lights, as required. Dialogue suited the scenes well. Usha Stage Vijaya Kumar (Stage Management), lights by Kalaivani Electronis Kicha, music score by Guha Prasad, sets by Siva and Sai, and make-up by Kumar contributed pleasingly to the powerful impact of the play.
R Srinivasan
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