Pagalkhana showed the mirror to society
Natyansh Society of Dramatic and Performing Arts, staged sensitive play “Pagalkhana” at Lokmanya Tilak Auditorium, Maharashtra Bhavan, Bhupalpura, Udaipur on 2 September 2018. Written by Ashok Kumar Anchal and Directed by young talent Ashfaq Noor Khan Pathan, this 2 hours play made audience restless and compelled to think that the Pagalkhana is shown on stage also exists in our society. We are silent observers who do not raise voice against wrong things.
Four most important pillars of the society i.e. politician, businessman, media and administrator who are responsible for the welfare of the society have become selfish. They not only fool the common people but also crush them. All these are shown as inmates of the “Pagalkhana”(Mental Hospital). The other characters are a revolutionary singer, a Transgender and silent observer. All of them are mentally sick. The guard of “Pagalkhana” represents the corrupt administration. He suppresses the voice of revolution and the truth. The play also portrays a lady cleaner ‘Sursatiya’ who represents the poor plight of women in Indian society. The powerful members exploit her and the singer and ruin their lives.
Looking at the central theme and characters, actors were required to give loud expressions and the actors handled their respective roles with full energy. A word of praise to Manisha Sharma who lived the lead character of ‘Sursatiya’. One could see a wide range of shades in her natural acting. Raghav Gurjar Gaud as ‘Darban’(Guard) tried to match his gestures with the cunning character, he could have done with more intensity. The Character of ‘Mukhbir’( silent observer) played by Chakshu Singh Rupawat was very natural. An eyewitness to all the atrocities, he expressed his concern, but with no voice. Agastya Hardik Nagda as ‘Gayak’ impressed audience with his right expression during the revolt. Other characters Like ‘Neta’(Dharmendra Tilawat), ‘Udyogpati’(Mahesh Joshi), ‘Patrkar’(Mohan Shivtare), ‘Radha’- the Trans-gender(Indra Singh Sisodiya)and ‘Bhanja’ (Rakshit Anand )justified their characters. Voice modulation and expressions were befitting their respective roles. Few artists need to put more efforts on dialogue delivery as they swallowed a word or latter of the last line. This problem can be solved by practicing a breathing technique. Neha Purohit, Palak Kayath, and Rakshit Anand as ‘Sutrdhars’ were attractive and helped to give relief now and then. Ashfaq Noor Khan Pathan proved his worth as a young director. As a sensible director, he created scenes taking a play to reach climax sustaining the required tension. Scenes like gang rape and shock treatment in Mental Hospital were shown on white screen as shadows created special impact. He utilized proper lights and sound effects to enhance the seriousness of play. Hemant Ameta with Dharmendra Tilawat created effective Music. The other jobs were properly handled by the Natyansh Team including Mohammad Rizwan Mansuri, Abdul Mubin Khan, Rekha Sisodia, Yogita Sisodia, Naail Khan and Amit Shrimali. The team Natyasnsh deserves praise for handling touch situations during the running play.
– VILAS JANVE
