Your mother develops an amorous feeling for a bloke, attending your father’s funeral. Your father’s stressed spirit insists on a standard cremation at a crematorium of his choice. He rejects the modern choice, for causes of it seeming impersonal. What if that rascally crow refuses to peck at the rice balls? These and plenty of extra absurdities are thrown onto the target audience via Satish Alekar’s Mahanirvan. It asks questions that make us cringe. This energy to generate an abysmal discomfort, making the watchers revisit their belief techniques, is the dignity of the show.
The play that has been recast with utmost deftness, unapologetically lays naked the age-old Brahminical traditions and customs. When the middle-aged Bhaurao passes away on a lazy, holiday morning, and his son Nana is away, the wife Rama is left all on my own with the corpse and the prying neighbours from the chawl. Subsequently, Nana is fighting the legitimate rigmaroles and municipal hindrances to fulfil his father’s last needs. Nevertheless, the revelation of Rama’s untimely fascination for a mysterious man in shades and a go well with assists in keeping pricking Nana’s concepts of rectitude.
A play with a legacy of more than 4 a long time, the load of dealing with socio-culturally delicate content in times characterized through unrest at the slightest of departures from what's “culturally prescribed”, and naturally, the blasphemous questioning of the revered rites and beliefs: the play, in essence, is a storm. The interspersed compositions through Anand Modak, keertans, bhajans, and abhanga upload momentum to the tempo of the narrative.
Full marks to Nachiket Devasthali, within the sneakers of Bhaurao, Siddharth Mahashabde’s easiest portrayal of Nana, and Sayalee Phatak as Rama. Alekar’s course, without any doubt, gives the staging a different stage of heft. Right from the frame language of the chawldwellers, to the dystopian realities of surviving as a widow, and the banes of corruption that plague our society, Alekar leaves no free leads to the expressions of definitions, dichotomies and rants.
— Ketaki Latkar
The play that has been recast with utmost deftness, unapologetically lays naked the age-old Brahminical traditions and customs. When the middle-aged Bhaurao passes away on a lazy, holiday morning, and his son Nana is away, the wife Rama is left all on my own with the corpse and the prying neighbours from the chawl. Subsequently, Nana is fighting the legitimate rigmaroles and municipal hindrances to fulfil his father’s last needs. Nevertheless, the revelation of Rama’s untimely fascination for a mysterious man in shades and a go well with assists in keeping pricking Nana’s concepts of rectitude.
A play with a legacy of more than 4 a long time, the load of dealing with socio-culturally delicate content in times characterized through unrest at the slightest of departures from what's “culturally prescribed”, and naturally, the blasphemous questioning of the revered rites and beliefs: the play, in essence, is a storm. The interspersed compositions through Anand Modak, keertans, bhajans, and abhanga upload momentum to the tempo of the narrative.
Full marks to Nachiket Devasthali, within the sneakers of Bhaurao, Siddharth Mahashabde’s easiest portrayal of Nana, and Sayalee Phatak as Rama. Alekar’s course, without any doubt, gives the staging a different stage of heft. Right from the frame language of the chawldwellers, to the dystopian realities of surviving as a widow, and the banes of corruption that plague our society, Alekar leaves no free leads to the expressions of definitions, dichotomies and rants.
— Ketaki Latkar
Mahanirvan is a marvel; a sine qua non for theatre buffs
![Mahanirvan is a marvel; a sine qua non for theatre buffs]()
Reviewed by Kailash
on
June 22, 2018
Rating:
