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The truth behind truth
 ‘Madras By Night’ was the sixth play - in effect, a farce - in the series of eight dramas staged by
Cho's Viveka Fine
Arts, under the auspices of Priya Cultural Academy, at the Narada Gana Sabha, recently.
The ‘farce’ highlighted, quite impishly, the events that happened in the city one particular night, culminating in the murder of a woman. The apparent mystery gets resolved by the self-confession of the father of the unbearably wayward woman. That was the motive for the murder.
Cho’s character sketches, as a police constable, and later, as a woman, playing the role of Kaikeyi in a street-play (Therukkoothu) on a
Ramayana episode, were the specially noteworthy features therein. The street-lingo used by him in his two characterisations caused ceaseless mirth. Well, he looked every inch a woman, gait, coquetry, attire, etc., etc., and, what is more, looked very fetching too! The ‘Therukkoothu’ was, of course, a farce in a farce, scripted nearly 50 years ago, and yet, stood well the test of time. Neelu, Ambi Rajagopal, Sukumari and others acted their assigned roles with characteristic élan.
Cho’s tiny-tot granddaughter also did a tantalising jig.
‘Unmaiye Un Vilai Enna’ ('What is the price of truth?') forsooth was the seventh (a serious play) in the series, staged the next evening. For once, Ambi Rajagopal overshadowed all others in his sombre, dignified role as Fr Arumainayagam, an uncompromising Christian priest, who proves, unequivocally, that ‘truth’ is priceless.
 Billionnaire Arogyasami’s (R M Sundaram) only son gets killed by taxi-driver Thomas when he attempts to outrage the modesty of a housewife who had called for donation for a good cause. The law pursues the driver. He seeks asylum with the priest. A Hindu devotee, a close friend of the priest, provides the needed shelter. Both the police and the vengeful richman are after the driver. The priest also is confronted by the richman, who believes that anyone or anything can be bought for a suitable price - money, position, job-offer and so on.
Fr Arumainayagam decides to defend the driver and collects material evidence, systematically, to prove the driver’s innocence. Arogyasami foils these attempts step-by-step ruthlessly. He even gets the priest defrocked. The law hauls up the priest but he gets bailed properly. Eventually, the priest is shot by Arogyasami who gets inescapably cornered. The priest’s honour stands vindicated in every respect. He himself sacrifices his life for the sake of truth.
Ambi Rajagopal’s portrayal as Fr Arumainayagam cannot be bettered. His ‘towering dignity’ is awe-inspiring. The events may have been stage-managed artificially, but if you have to stress that truth will triumph ultimately, even though it may stumble now and then, well, the stage-managers have to lead the willing audience to the path to the goal.
 Cho, as the Andhra advocate Sathyanarayana, who sacrifices truth willingly to get the coveted Advocate General’s stature, personifies the ‘truth’ that, in most cases, can be bought, temporarily at least. Cho’s arguments in the court reflect the uncomfortable state of affairs vis-à-vis minority community and the undue advantage that could be derived therefrom.
Sukumari, as ‘Pankajamu’,
Cho’s Tamilian wife, Aadhi, as son Venkat, Neelu, as the ever-suspicious husband Kuppuswamy, Sasikala, as his wife Geetha, and all others help uncover the truth behind truth effectively. Moral: ‘Satyameva Jayathe’ - despite enormous stresses and strains.
R Srinivasan
Published on 6th July 2004
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