As
I sit at the back of the S. Thomas' College hall, re-winding my little
tape recorder for an interview with Vinodh Senadeera, I watch the stage
where two young boys in skirts and high-heels are familiarising themselves
with the costumes that they will wear for the show that is now just a week
away. In a week, from their portrayals, poise and delivery on stage, four
nights of audiences will judge how much 125 years of dramatic tradition
has passed on to them. But this unfair burden of expectation doesn't seem
to bother these young actors. They are here because it is fun and why not
- after all, it is comedy.
It was 125 years ago, in June 1872 that the then, "College Dramatic Society" of S. Thomas' turned in its first effort. It was excerpts from George Coleman's "Heir at law" and was performed in the dining hall of the College in Mutwal. This was followed by scenes from "Merchant of Venice" in 1874.
The years that led up to the 20th Century saw many landmarks in Thomian Drama. The society stepped into uncharted territory when they produced the "Cyclops" (1885) and the "Alcestis":(1887) in its original Greek, a feat that has not been equalled since. Another landmark was in 1891 when masters and boys came together to produce "Julius Caesar" for the old boys' day. This was probably the precursor to the inter-house drama competitions which are a part of the old boys' day activities even today.
Shakespeare dominated Thomian drama for the next 44 years with only three of the seventeen productions during that time being by other playwrights. Meanwhile, much had happened in those 44 years - the college had moved from Mutwal to Mt. Lavinia, and there had been a world-war.
Another world-war, the College's resultant move to Bandarawela and a warden unfriendly to drama all contributed to the longest lull in the history of the drama society from 1943 to 1959.
There had been an attempt by Rev. Bowyer-Yin in 1950 to revive the society by producing Shakespeare's "Julius Caesar" in modern dress and with a modern name - 'A study in dictatorship. It never got off the ground. But this abortive production was to influence generations of Thomian actors in a way that none could have imagined. It produced S.Thomas' most famous prop, which has been used in countless Thomian productions in the past 47 years. The semi-circular steps built by Fr. Bowyer-Yin could testify more towards the history of Thomian drama than any man alive today.
The
year 1959 saw a new warden. Warden Davidson, himself a member of Fr.Yin's
1950 cast, wasted no time in granting permission for the revival of the
drama society. Enthusiastic students led by a young Dayasiri Fernando joined
up with teachers who had been stalwarts of the old society, to prepare
for a production of "The Merchant of Venice".
Mr. R. F. "Riffle" Mendis and Mr. Leonard Arndt were the masters-in- charge. Mr. Arndt had produced and directed the first ever play, performed at Mt. Lavinia. He was also a second generation Thomian actor - his father George had played Bassanio in 1874.
Teachers acting alongside students was common in those days. Professor Dayasiri Fernando remembers Mr. Arndt as being an extremely colourful character and a very intense actor. Prof. Fernando who played Portia remembers an encounter he had with Mr. Arndt's intensity, "It was a day of the show, Mr. Arndt was playing Shylock and he was so into his character by the end of the court- scene that he muttered "Dog" quite audibly as he passed me. This caught us all off guard as it was not in the script, and it left me quite unnerved because he was one of my teachers."
Prof. Fernando also pointed out that one of the prompters at this production, was a boy named G.L. Peiris, who went into a dramatic arena of a different sort.
The production was a roaring success. Graham Hatch now a well-known producer, who played the role of a maid's attendant in this play, remembers the years that followed. "The success of the 'Merchant of Venice' gave drama a boost and we went on to do "Julius Caesar" (1960), Hamlet (1961) and "The Tempest" (1962) but when Leonard Arndt and "Riffle" Mendis left shortly afferwards, drama once again went into a slump," he says.
Jith Peiris, another old Thomian who is still deeply involved with English theatre reflects that even during this period drama was not dead at S. Thomas'. "The most active form of drama at that time was the inter-house drama competition. It was of a very high standard and extremely competitive. I was in the boarding and there were inter-boarding and ever inter-dorm competitions."
Another shot-in-the-arm came in 1970 with Derek Benfield's "Post Horn Gallop", being staged at the Ladies College Hall. Arun Dias Bandaranaike today a well known radio personality who was a member of that cast recalls that, "The idea was met with stiff resistance. Members of the staff thought that this was an absoloutely insane idea. But our director Christopher Herft was determined, and we had Mr.Tom Wilson on our side. He spoke to the warden who was cautious but not averse to the idea. "The performance went like a bomb, all the critics were proved wrong and all of a sudden the drama society was revitalised.
He recalls as one of his most memorable moments in theatre, something which happened on the "Press night" of "Post Horn Gallop." " David Sansoni who was playing Lord Elrood was on stage with Rohan Ponniah who was playing his wife, when suddenly a part of the set came crashing down. And without missing a beat David Sansoni responded, Ah! The craftsmen these days can hardly be called craftsmen, see to it that proper craftsmen are brought in for repairs."
The next step up came two years later in 1973, with S. Thomas' College sweeping the boards at the newly revived inte-school Shakespeare drama competition winning all the awards in sight including the trophy for best actor (Richard De Zoysa) and best actress (Steve De la Zilva).
Spurred on by this victory the drama society decided to put on a show for the public. Thornton Wilder's, " The Matchmaker' was decided upon. Mr. Tom Wilson was to produce it and a schoolboy named Rohan Ponniah was to act and direct. The cast included Richard De Zoysa, Steve De la Zilva, Chanaka Amaratunga, Christopher Ponniah, Paikiasothy Saravanamuttu and others.
Rohan Ponniah describes his cast as being "Theatrical on-offs. Absolutely the most colourful characters you could find. Each was a star even if it was just a walk-on."
Dr.Paikiasothy
Saravanamuttu recalls that it was an extraordinary experience for a cast
of young boys who were all between 14 and 18 years of age. He also smilingly
recalls the price that was paid for all that colour. "There was as
much drama off-stage as on," he quipped.
The production was a tremendous success. Drama at S.Thomas' was experiencing a golden age and people were noticing. And that is what Rohan Ponniah finds most gratifying about the experience, "We were not cricketers, we were not Rugger players, we were not top divers, but we were recognised by our peers as special."
This golden age continued with six consecutive victories at the inter-school Shakespeare competitions, from 1975 to 1980. By this time a rather strange rule had been introduced into the competition, specifying that only actresses from girls schools were eligible for the best actress award. One might think that this went without saying until one discovers that Thomians had outshone women at being women.
English theatre in Sri Lanka was also enjoying a Renaissance at this time and as the college magazine comments, "Thomians have been in the forefront of this revival." Jith Peiris points out that, "Thomians were involved in all aspects of the theatre not always on stage, but they were instrumental in promoting the idea of drama."
But with the passage of actors from college drama to theatre at large, the momentum of this age was gradually slowing. This was felt at the Shakespeare competitions when S.Thomas' failed to make the finals from 1981 to 1983.
But this was not symptomatic of another dark age. 1984 saw the beginning of another spate of victories with five consecutive titles until 1988. S.Thomas' won the overall title once again in 1992.
This gives S.Thomas' an extraordinary record at this competition. In its 24 year history S. Thomas' has taken part 22 times and won the overall title 13 times. Thomian actors have bagged the best actors award on eight occasions and the best actress award on two.
The two boys in skirts and high-heels had just finished their little skit. Vinodh Senadeera indicates to me that he is ready to give me an interview. He talks me through the final part of this story;
"Hotel Paradiso' (1986) was my first production .In those days there were many old boys helping with the productions and the society itself was more involved than it is now." His memories of that time are what you would expect of a boy in year 6 (as he then was). "The practices were very hectic, I remember one night we had to go to the Ladies College hall at one o'clock in the morning for light-rehearsals."
He believes that drama has been a learning experience for him and that it has helped him to build his confidence both as a director and as an individual, almost echoing Rohan Ponniah's words, "(Theatre) gives you a sense of confidence and self-awareness and it also is a huge temptation because ultimately you're dealing with the human psyche. I feel I have a distinct advantage just dealing with life on a daily basis because really, there is very little difference between real life and how it is portrayed in a script."
As to the question of whether he thought that the standard of Thomian drama had dropped in the past few years, Vinodh's response was an unequivocal, "No". He believes that like in most things, :"Golden ages" and "Dark ages" come in turn, the fact that S.Thomas' has not won the Shakespeare competitions since 1992 should not be taken as a sign of decline. He points out that making a winning cast takes more than collecting together a group of good actors.
The cricketing simile crops up again. Says Jith Peries, "One year you have a winning team. Then all your best players leave and the next year the team is full of inexperienced but enthusiastic youngsters. It will take them some time to learn to work together as a winning team again."
Vinodh pointed to the success of last year's production of "Playing Doctor" which was held at the college hall for three nights, and re-staged at the Ladies College hall for two more by popular demand, as indication that Thomian drama is still very much alive and kicking. "They can come for 'The Play' and see it for themselves" he quipped. "The drama society is very much living upto its motto - Soc et tu em!"
Neil Simon's - 'The Play', directed by Vinodh Senadhira, and produced by Jith Peiris features a pleasant combination of past and present students of S Thomas' College. The production will come alive at the Lionel Wendt on November 20, 21,22,23.
The play revolves round a Russian writer who introduces eight of his short stories and plays. It has two acts, each act having four scenes. All eight scenes are separate stories connected by one main character who links all the scenes. This vital part falls to old Thomian and a well known actor/broad castor Arun Dias Bandaranaike.
The production has been initiated to celebrate 125 years of quality
theatre from STC. Through the years the school has 
produced
some of the stars of English theatre. The script was especially selected
for the celebrations. A comedy, it offers plenty of humour, humour of a
different kind "It is not the usual slapstick comedy you usually see,"
says Senadhira, whose past credits include The Playing Doctor.
Senadhira explains that through the years, the Thomian dramas have reflected the change in theatre. "We wanted to do some thing new that shows the change in theatre through the years. 'The Play' was a convenient one to direct .
The eight different scenes have different actors and the task of carrying out practices with a cast of all ages has been made easy."
While it does not offer unusual visuals or spectacular stage effects, 'The Play' promises strong dialogue and quality acting. "Today the audience wants to see major visuals and lighting but what is most important is acting. Visuals do help but acting is most important," says Senadhira.
An important feature will be the revolving wall, which has been specially constructed by Nimal Bulathsinghala. A complicated set, the wall will bring in a more modern dimension to the production and provide different sets for each scene.
The cast of different ages and diverse professions have a wealth of experience and talent to offer . Senadhira says it is an interesting experience to work with such a varied bunch of Thomians. "The fun part is the old and young mix well and they are quite aware of the standard expected from them."
He expresses his disappointment however at the poor response he had from some old boys of STC who were reluctant to be a part of such a special event. Many old Thomians who have been a part of the tradition of drama in the school refused to come forward to support the initiative, he says.
Sponsorship was also poor. The entire play costing Rs 5 lakhs will be financed by the school. Much of the enthusiasm to make the play a success flows from the school principal who has been an ardent supporter of the idea.
Senadhira believes people should come to support Thomian theatre. "It is a part of education." Most importantly there will never be another 125th year celebration .
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