#MAN UDHAN VARYACHE SINGER FULL#

But the team was handicapped by not getting enough time to set up the machinery as the earlier play did not get over on time. But director Nipun Dharmadhikari, set designer Keyur Godse and technical director Anuj Deshpande have used multi-media technology and projected scenes on the backdrop. One would have expected the traditional painted scenery, or a box set of the transition period. Is she a friend? Is she a sister? Is she a cousin? Is she a servant? But Sayalee Phatak was convincing here. Veteran theatre critic Dnyaneshwar Nadkarni always complained that he could not fathom the character called Kusum in the play. Bhaktiprasad Deshmane has the figure of a comic character and he does a good Vilasdhar. His interpretation of the character is more consistent with his age-both the character and the actor.

#MAN UDHAN VARYACHE SINGER FULL#

Ameya Wagh, who acts in this production, is thin, agile, full of frolic. I have even seen Jayram Shiledar and Master Dhumal. Daji Bhatawdekar did these roles in the 1950s and 1960s. His portrayals of Shakar in MRICHCHHAKATIK, Phalgunrao in SAMSHAYKALLOL and Lakshmidhar are legendary. The most noted Lakshmidhar has been Ganpatrao Bodas, whom I had met as a child, but I do not remember him on stage. Maybe because we hardly have anyone today who had seen the sole samyukta show in 1921! The two are complementary and may have succeeded in re-living 'Sangeet Surya' Keshavrao Bhosle and 'Balgandharva' Narayanrao Rajhans. Her songs have lilting tunes, to Dhairyadhar's masculine, and almost military, tunes. Nor does Saily Panse whose Bhamini is very lovable. It is not usual for a singer to act much. Even Bhimsen Joshi used to sing a couple of natya padas-' Chandrika hee janu', ' Prema seva sharana'.Д«ut Rahul is brilliant. And he is totally influenced by Vasantrao, whom we heard more in private recitals, where he sometimes sang numbers from MANAPMAN. Rahul Deshpande in the present version, is the grandson of Vasantrao Deshpande. I was brought up on these two actors-even their SAUBHADRA was a grand success. He was extremely melodious, even effeminate for an army general. But though Jaymala sang like Balgandharva, Chhota Gandharva was miles away from Deenanath. The two would draw full houses as many times as they chose to perform. But he died young and Master Deenanath Mangeshkar took over with his peculiar singing style-which Vasantrao Deshpande imbibed and even taught to others, including Asha Bhosle whose records are very popular.ДЄfter the 1950s, when the golden age of the Marathi sangeet natak was over, actor-singers Chhota Gandharva and Jaymala Shiledar made the play popular once again. Balgandharva was the classical male actor doing female roles, and Keshavrao Bhonsle was much too masculine, even in his singing. Keshavrao Bhonsle once collaborated with him as Dhairyadhar in a joint venture called SAMYUKTA MANAPMAN-to raise funds for the freedom movement! The singing styles of the two were different-not merely because of the roles they played. The legendary Balgandharva immortalized the role of Bhamini and the play with his acting and singing. MANAPMAN ends where OTHELLO would begin: but with Brabantio's blessings! The Duke is off stage, but it is same Duke!

Their scenes are almost copies of the Iago-Roderigo scenes in OTHELLO. This love story is humorously punctuated by the scheming of Bhamini's brother-in-law Vilasdhar, who promotes the cause of Lakshmidhar, a good-for-nothing dandy. Her pride subsides, but his prejudice for the original character remains. But she soon repents and presents herself disguised as a poor damsel in the wilderness, only to be rescued by Dhairyadhar. A young and penniless general, Dhairyadhar, is refused by the proud Bhamini, a proud heiress. MANAPMAAN was quintessentially a Marathi sangeet natak: a blend of Hindustani classical music and folk tunes used in otherwise prose plays.Д«ut MANAPMAN too was inspired by foreign themes: OTHELLO and Jane Austen's novel Pride and Prejudice. BHAUBANDKI and SAWAI MADHAVRAO YANCHA MRUTYU borrow from MACBETH, OTHELLO and HAMLET. His politically potent KEECHAKVADH was banned by the British government. The late Shri Krishnaji Prabhakar Khadilkar was a noted Marathi playwright who was equally at ease with prose plays as well as musicals.

Man udhan varyache singer