Archive for the ‘Theater’ Category

My response to the Review of my play ‘ID’ in The Hindu by Suganthy Krishnamachari

The review of my play, “ID” published in The Hindu dated 8th May 2015 is far distanced from reality and is negatively biased. This review has been a trigger for my detailed response and rebuttal of the points raised. Please note that I respect reviews and have never done a reply for any of the 21 plays scripted by me. I do understand censure and appreciation are part of any review intended to promote a good product.

TAMIL THEATER in its entirety needs constructive feedback and criticism and not flippant reviews slamming the creator and the artistes without any logic. Such reviews do not augur well for the future of TAMIL THEATER which I represent with undying passion and commitment.

Given the limitation of a theatre play, my efforts to bring a complex technical subject in a simple manner was well received by the audience but surprisingly to the reviewer, everything seems to be “riddled with holes”. The reviewer has raised points that were answered emphatically in the play and many others from her figment of imagination, raw understanding and inattentiveness.

Though I have the necessary points to answer every statement in her review, I am picking out few to highlight the IQ level of the reviewer.

“When you are talking about hawala and terrorism, wouldn’t the engagement be at the highest level, with Ministers and perhaps even the Prime Minister being kept informed?”

My police officer Parameswara Iyer, a true representation of plainclothes men, is from the CYBER CELL and his duty is to inform relevant departments of any such plans to prevent them from happening. Why would he go to ministers and PM every time he gets an input? It is made clear in the play that he speaks to the concerned departments to thwart the attacks.

“How can a lone hacker, operating from his house deal will all this? “ – This statement shows that the reviewer has absolutely no knowledge about what a hacker is. I want to reiterate here that even this technical subject was explained in simple terms by the hacker Divakar and understood by many including senior citizens witnessing the play.
Also, from the points raised and from the above question, it is evident that the reviewer was not paying attention to the dialogues nor the story.

Further, the reviewer seems to have caught up some words and dialogues now and then to raise it up as issues to cover HER inability to understand the subject, thereby bringing the whole concept of creative freedom, characterization, and my efforts in the play to question.

Theatre substitutes situations and time lapse through dialogues many times and it is for the viewers to keep attention to the dialogues and every theatre lover does it and that is why I am still in theatre.

And the audacity of the reviewer to comment on the Humane Police officer depicted as Cool headed, Intelligent and Tech Savvy as “a concern about the future of our country” is immature and her statements are hampered by her affinity to Masala movies far cut from reality. It also highlights her incapability to review drama that draws on realistic characters and situations.

“Hampered by a bad script and half-hearted performances, ‘ID’ was a complete let down.”

From the explanations above, one can understand the purpose behind this review and as such no answer for this statement is necessary. I am still surprised that she could not find one positive thing to write about the whole play, which also throws light on her mental frame and psychological status.

I am open to stage my play for people who are interested in seeing the validity of my response to the insensitive review of Suganthy Krishnamachari.

Read the review here


Prayatna Stage’s “ID” – Review by Siragu Ravichandran


Vivek Shankar shared Siragu RaviChandran’s post.
May 1 at 11:13pm •

ID 8

விவேக் ஷங்கரின் ஐ டி ( நாடகம் )
சிறகு இரவிச்சந்திரன்
சளைக்காமல் நாடகம் எழுதுவதிலும், அதை மேடையேற்றுவதிலும் விவேக் ஷங்கரின் பிரயத்தனா குழு ஒரு முன்னுதாரணம். இப்போதுதான் “நதிமூலம்” பார்த்த மாதிரி இருக்கிறது. உடனே இன்னொரு புதிய நாடகம். இம்முறை நதிமூலம் இல்லை! நாசவேலைகளின் மூலம், பவுத்திரம் எல்லாமும்!
ஹாக்கர்ஸ் எனப்படும், கணிப்பொறி வலைப்பதிவுகளில், கன்னம் வைப்பவர்களின் கதை. அதன் மூலம் சமூக விரோதிகள் தண்டிக்கப்படுவது மெசேஜ்! இன்செப்ஷன் என்று நீங்கள் கத்துவது தெரிகிறது. ஆனால் தமிழ் நாடக மேடைக்கு இந்தக் கரு ஒரு எக்ஸப்ஷன்!
ஒரே பெயர்.. இரு கதை மாந்தர்கள். அதனால் ஏற்படும் ஒரு கொலை. இதுதான் மைய இழை.
திவாகர் ( சூரஜ்) ஒரு கணிப்பொறி ஜீனியஸ். எந்த வலையிலும் புகுந்து புறப்பட்டு, சேதமில்லாமல் தப்பிக்கும் தந்திரம், அவனுக்கு அத்துப்படி. ஆனால் அதை பயன்படுத்தி, சட்டப்படி தண்டிக்க வேண்டியவர்களை, சிறையிலடைக்க அவன் உதவுகிறான். அவனுக்கு உறுதுணையாக இருக்கும் காவல் அதிகாரி பரமேஸ்வரன் அய்யர். ( கிரீஷ் ). திவாகரின் அறை நண்பன் கலியவரதன். ( மது ). பிள்ளையை அமெரிக்கா அனுப்பிவிட்டு, தனிமையில் வாடும் மேன்ஷன் பெரியவர் நரசிம்மன் ( டி டி சுந்தரராஜன்) இவர்களது பக்கத்து அறைக்காரர்.
கலியவரதனின் சொந்த ஊரில், திருநெல்வேலி பக்கத்திலிருக்கும் கிராமத்தில் வசிக்கும் ஒரு குடும்பத்தில் ஐ ஏ எஸ் தேர்வு எழுத சென்னை வரும் திவாகர், அதே மேன்ஷனின் ஒரு அறையில் தங்குகிறான். ( இது என் யூகம். இது நாடகத்தில் தெளிவாக விளக்கப் படவில்லை ) கணிப்பொறி திவாகரை பழிவாங்க ஏவப்பட்ட கூலி படையன், ஐஏ எஸ் திவாகரைப் போட்டுத் தள்ளிவிட, தலைமறைவாக இருக்கும் ஒரிஜினல் டார்கெட் திவாகர், கொல்லப்பட்ட திவாகர் வீட்டிலேயே தங்குவது சின்ன டிவிஸ்ட். ஆனால், இதில் பழைய சிவாஜி படம் மாதிரி, உணர்ச்சிகளுக்கு எல்லாம் இடம் தராமல், கதையை ஜெட் வேகத்தில் நகர்த்திக் கொண்டு போகிறார் இயக்குனர் விவேக் ஷங்கர். கடைசியில் கூலிப்படை ஆள் பிடிபட்டானா? இறந்த திவாகரின் குடும்பம், இந்த திவாகரை மன்னித்ததா? என்பது க்ளைமேக்ஸ்.
சின்னதாக ஒரு திருப்பம் வைத்திருக்கிறார் ஷங்கர். தலைமறைவாகும் திவாகர், தன் பெயரில் உள்ள ஒரு நபரின் புகைப்படத்தை, தன் அடையாளமாக மாற்றி விட்டுச் செல்கிறான். அதனால் கிராமத்து திவாகர் கொலையாகிறான். இது ஒரு காட்சியாக அமைக்கப்பட்டிருந்தால் இன்னமும் தெளிவாக புரிந்திருக்கும் பார்வையாளர்களுக்கு. ஆனால் இரண்டு வரி வசனத்தில் அதைச் சொல்லி விடுகிறார் விவேக் ஷங்கர்.
கொல்லப்பட்ட திவாகரின் கிராமத்து அக்கா ஜானகியாக பிரேமா சதாசிவம். அனுபவம் அவரை முதலிடத்தில் நிறுத்துகிறது. வழக்கம்போல கிரீஷ் பாஸாகிறார். ஆச்சர்யம், கனமான பாத்திரத்தில் கதை நாயகனாக நடித்திருக்கும் சூரஜ். சபாஷ்! புலம்பல் தாத்தாவாக வரும் சுந்தரராஜன், அரங்கில் அதிகம் கைத்தட்டல் பெற்றவர். யதார்த்தம் பாராட்டைப் பெறுவதில் அதிசயம் ஏதுமில்லை!
தினேஷின் இசை நாடகத்திற்கு பக்க பலம். இன்னும் கொஞ்சம் இசைத்திருக்கலாமோ என்று தோன்றுமளவிற்கு அற்புதம். சேட்டா ரவியின் ஒளி ஜாலங்கள் மேடைக்கு மெருகு.
விந்தையான கதைகளை யோசிக்கும் விவேக் ஷங்கர், அடுத்தது ரோபோக்களை வைத்து நாடகம் எழுதுவாரோ? ஷங்கர் என்று பெயர் இருக்கிறதே செய்தாலும் செய்வார்!
நூறு நிமிட நாடகம். நறுக் வசனங்கள். இயல்பான நகைச்சுவை. தேர்ந்த நடிப்பு. வெற்றி பெற இவைதானே ஃபார்முலா! நம்பர் ஒன்னாக வரும் இந்த ஐ டி! வாழ்த்துக்கள்!
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Update – Theatre Workshop for Actors by Director Naga

Theatre Workshop for Actors organised by Sri Parthasarathy Swami Sabha and conducted by Director Naga and Ms. Shylaja Chetlur (Cinema Rendezvous) took place on 22nd March 2015 from 9.00 AM to 4.00 PM at Janapriya Convention Hall, 26 Sardar Patel Road, Adyar, Chennai.

The program was well received by the attendees who extended their wholehearted participation. Participants was an eclectic mix of experienced stage artiste and aspiring actors. Further requests to conduct many more workshops of similar nature and on more advanced topics were received by the Co-ordinator K. Vivekshankar (Prayatna Stage) at the end of the session.

The highlight of the event was that it laid more emphasis on practical aspects and approach to acting on stage as well as in other forms. Participants found workshop more useful, interesting as Mr. Naga  explored the nuances and various  dimensions of acting in a simplified Do it yourself manner.

Here are few pictures taken at the event : (Click on any Picture to see it in FULL)

Nadhimoolam Play Review By J.R. Devendranath

devendrn J.R.Devendranath – 76 yrs.
B-2, 2nd Floor, ‘Eden Plaza’,
165, Perambur Barracks Road,
Vepery, Chennai – 600 007.

(Mobile – 97880 38397)

Nadhimoolam – drama – A layman’s opinion

A drama based on reincarnation and karma interspersed with lighter moments got off initially with a bang by Ashok (Madhu) and after many twists concluded that the best way of punishing Gopi (Girish) for his misdemeanor is not by killing him but allow him to live and undergo the ordeal of rebirth in the last scene with killing effect. This reminded me that of late some of the learned judges instead of sending the accused to the gallows they hand out life imprisonment till his natural death.

The director has shown human frailties at its best especially when it relates to the ladies in the character of PremaSadasivam. Though she is practicing psychiatrist she gives in an rather enjoys when Ashwin praises her sartorial taste and elegance. Likewise Ashok who suffers from insomnia advises his brother meticulously to the last detail of DOs and DON’Ts before he leaves for office. But I could not understand why Jothi was not astonished and dumbfounded when her father said that she was adopted by him. This could have been avoided if Jothi was made to go through the manuscripts of her fathers autobiography (சுயசரிதை as he says) while he was doing “Dyanam”. This could have been narrated by way of soliloquy by Jothi.

Finally when Gopi asks the artist (Madhu) who is ‘Nadhi’ which has been written in the sketches drawn by him the explanation given was very pleasing.

Let the Nadhi becomes perennial and bring forth good and lively dramas in the days to come. My honest appreciation for all the stage actors and behind the scene actors who have performed very well and there was never a dull moment.

– J.R.Devendranath

Registration Invited for Theatre Workshop for Actors

Sri Parthasarathy Swami Sabha


Theatre Workshop for Actors by Director Naga, Cinema Rendezvous. 

Date : 22nd March 2015

Venue : Sastri Hall, Luz Church Road, Mylapore, Chennai

Time :  9.00 AM to 4.00 PM

Seats are limited. Participation is on First come First served basis.

For Registration Contact Workshop Co-Ordinator K.Vivekshankar, Prayatna Stage @  Mobile : 9841433965 or Email


workshop poster revised1

Nadhimoolam Play Review by The Hindu

February 26, 2015 1 comment

When conscience pricks




scene from Nadhimoolam. Photo: M. Vedhan


Lighting scored a high at this play, Nadhimoolam. Photo: M. Vedhan

‘Nadhimoolam’ portrayed the agony of the protagonist.

A clear conscience is a soft pillow. Our conscience can make our lives miserable, by reminding us of our mistakes. The still small voice does not rest until atonement has been made. In the case of some, atonement isn’t enough. The guilt feeling drives them to actively seek death, for this is the only way they can be released from the nagging of their conscience.

Gopi (Girish) is a man, whose past haunts him so much, that reparation for past mistakes isn’t enough for him. He wants to end the torment by seeking death at the hands of those he has wronged. In Prayatna’s play ‘Nadhimoolam’ (story, dialogue, direction K. Vivekshankar), Gopi’s conscience appears to be the protagonist. The play takes us through the events of Gopi’s past in the form of his agonising memories, with an unexpected twist in the tale.

Psychiatry, fanciful ideas like incidents from a previous birth intruding into the present and philosophy were all thrown in, resulting in a hodgepodge effect. Why did the psychiatrist (Prema Sadasivam) keep standing all the time, when she talked to Ashwin? Being seated would have been more natural.

The sets were simple, but tastefully done. Each half of the stage served as a different house, with the portion in the middle serving as the psychiatrist’s clinic. Lighting (Chetta Ravi) was very effective, especially in the jail scene and when Gopi’s meditative posture was highlighted.

Jothi (Harini Krishna) is not only magnanimous, but practical too, when she says she is not angry with Gopi. He is the only father she has known, and she feels harking back to the past serves no purpose. While one can appreciate her ability to move beyond the cobwebs of the past, one fails to see how she could take a shocking revelation about her past with no reaction at all. She just sits there placidly, listening to Gopi, as he tells her the truth.

Except for this, Harini- a newcomer to the stage, did well, as did Narender Kumar, also a debutant. Girish gave a fine performance, with his body language and modulation in dialogue delivery.

The play ran to two hours. This was too long a duration for Gopi’s conscience to have its say, and to seek a solution.

Request Nadhimoolam Play Reviews

February 23, 2015 Leave a comment

IMG_20150222_202416I thank everyone who spared their time to make it to the venue to watch my new Tamil Play ‘Nadhimoolam’.

I am writing this post to welcome reviews, feedback and comments on my play. I am active here and would be responding to everyone who takes the time to write to me.

Please send your thoughts to my email  with your name and photograph, which would be published in my blog.