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Kala Korner - by Dee Cee

'Hunuwataya' back with a bang
Henry and Manel Jayasena sat with the audience at the Lionel Wendt and watched the new production of 'Hunuwataye Kathawa', the third during its long run spanning 37 years. They watched a totally new cast perform. They cheered them at the end of the show. Then they walked up to receive a standing ovation for a job well done. The new players did not let them down. Theirs was a fine display. Henry had done a marvellous job in training them into a disciplined band of actors. It would not have been an easy task - preparing close upon fifty players to perform a serious drama for nearly three hours. It would have been a daunting task amidst ups and downs in their personal lives due to health problems.

Disciplined artiste that he is, Henry once again saw to it that the play started sharp at 7. (That's the usual time that plays start at the Lionel Wendt). Veteran actor Nimal Jayasinghe in the role of the narrator made his mark from the moment he appeared and carried through in admirable form just as Wijeratne Warakagoda had done way back in 1967. Having been in the original chorus, it was good to see him still going strong! Nalin Alwis and his orchestra brought a lot of life into the whole drama. It would have been a memorable night for Chula Kariyawasam who was the sole survivor from the original cast repeating Shauwa's role, which he did on the first night and many nights thereafter.

What a lot of memories would have gone through the minds of Henry and Manel watching newcomers Nalin Pradeep Uduwela and Ruwini Manamperi play Azdak and Grusha. It's not fair to compare - after all Henry and Manel had perfected the roles with years of experience. The newcomers certainly did justice to their task and over time will bring more depth and maturity to the roles. Also showing promise were Lalith Janakantha (Prince Kazbeki/ the corporal), S I Samarakkody (Geogi Abashwilli/Jossup), Thamari Chaturika (Natalia), Sanath Wimalasiri (Simon Sashawa), Prasannajith Abeysuriya (Grusha) and many others.

It's indeed comforting to note that there is plenty of talent amongst our youngsters provided they are handled properly. This is where maturity, dedication and commitment count. At the time Henry produced 'Hunuwataya' originally, he had experienced players from Nalu Kela to choose from. Here is a new lot who show great potential for the future.

It's a pity there wasn't a full house on the opening night. In fact, this prompted Henry to appeal to theatre-lovers at the end of the show, to pass the word round and get more people to come and see the play. It will be a source of encouragement to the youngsters, who well deserve such support for their effort. The play ends its first run tonight at the John de Silva Theatre but there are bound to be many more shows.

Incidentally, Bank of Ceylon deserves a big 'thank you' for sponsoring the production, which had obviously helped to get new stage props and costumes for the players. Sinhala theatre does not seem to have the backing of the private sector these days. With so much of talent around, it needs the support because of high costs of production. Why concentrate only on sports? Theatre needs patronage to survive.

Down memory lane
This is also an opportune moment to pay tribute to the many veterans who thrilled us at the opening night of 'Hunuwataya' on March 8, 1967 at the Lumbini Theatre. (They had a five day run - a 'first' for a Sinhala drama).

A week earlier, I had seen a final rehearsal and was most impressed. Wijeratne Warakagoda was narrator 'par excellence'. Playing memorable roles were Santin Gunawardena (Simon Sashawa), Elson Diviturugama (Prince Kazbeki), Dharmadasa Kuruppu (boutique keeper/old man in farm), Grace de Silva (old farm woman), Douglas Ranasinghe (the corporal), U Ariyawimal (soldier/lawyer). Fitzroy de Mel (Lavrenti), Karan Breckenridge (Jossup), Chandra Kaluarachchi (Jossup's mother), Felix Premawardena (the bandit), Ernest Macintyre (the priest), Lucky Wickremanayake (lawyer) and of course, Henry and Manel. Some of them are no longer with us.

Shelton Premaratne's was a new experience in music. Upasena Gunawardena had done the stage sets and costumes. Macintyre was in charge of stage management. Henry then insisted that the play, though a translation, would be close to the heart of the Sinhala theatregoer and was confident of its success. And it did succeed.

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