Those dramatic days
A growing interest in Sinhala theatre is
seen once again. More and more plays are being produced. Popular dramas
are being re-presented. The theatregoer is offered a choice by many a new
dramatist.
Reading through the Life and Times of Professor Sarachchandra (Ping
Athi Sarasavi Varmak Denne), one gets a clear picture of the development
of modern Sinhala theatre over the past six decades. Professor Sarachchandra
traces back the beginnings of modern Sinhala theatre to the University
College days, in the early forties. The formation of the Sinhalese Society
on the initiative of students who came from homes where Sinhala was spoken,
paved the way for the introduction of Sinhala theatre. At the annual social
of the society, a variety show was presented, which included an entertaining
presentation by the students. The first was a series of episodes titled
'Back to the Land' written by L Piyasena and M J Perera. The theme
was the ill effects of urbanisation and the need to get back to the village.
The years that followed saw the presentation of adaptations of western
drama. These included Moliere's 'Bourgeois Gentilhomme' (Mudalalige
Peraliya) and 'Le Docteur Malgre Lui' (Ibe Veda), Oscar
Wilde's 'The Importance of Being Earnest' (Hangi Hora), Anton
Chekov's 'The Proposal' (Magul Prasthawa), 'The Bear'
(Valahediya) and 'The Manager' (Manager). These were
extremely popular with the audiences which included invitees. The use of
the day to day language quite in contrast to the type of Sinhala used by
dramatists at the time was one of the main reasons why they became popular.
The audience preferred the language commonly used by everyone.
'Hangi Hora' was Professor Sarachchandra's first production.
"I undertook this task not because I had the confidence that I could
direct a play but due to the officials of the Sinhalese Society pestering
me," he says. (He was then on the University staff). Earlier, while
on the staff of the Sinhala Dictionary, he along with colleagues D. J.
Wijeratne and A P Gunaratna, had adapted Gogol's 'The Marriage'
(Kapuwa Kapothi) for direction by Professor Ludowyke.
First produced in 1945, Kapuwa Kapothii, was an instant hit with
the lead actor Richard Thenabadu turning out a scintillating performance.
E C B Wijesinghe who had made a name for himself by acting in English drama,
had to be given a transliterated script since he could not read Sinhala.
(The same was done for Earle Gunawardena who played E C B's role in the
second production). The performances of Damayanthi Dunuwille, J W E Amarasekera
and Eileen Sarachchandra were also highly appreciated.
His next attempt was the three Chekov plays - Magul Prasthawa, Valahediya
and Manager. As interest began to grow, a separate society (Sinhala
Natya Mandalaya) was formed by the University students to promote Sinhala
theatre.
Professor Sarachchandra was disappointed that the Sinhala press did
not encourage the development of Sinhala theatre. "I have been thinking
why this was so. One reason was possibly because the editors and sub editors
were not conversant with appreciation of theatre or drama criticism. Because
of this, there was jealousy and hatred towards those who were involved
in theatre," he says.
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