Some stories stand the test of time. Across eras, these tales continue to resonate, seamlessly fitting into the context of the world. After all, that’s the timeless essence of folklore! Contemporary artistes now bring these age-old stories to life, offering a fresh perspective on narratives we cherished in our childhood. With a similar motive, citybased Bhoomika Theatre Group is gearing up to present a Telugu play — Baribathala Raju with a humourous twist and satire. Inspired by a short tale The Emperor’s New Clothes, the story is a Telugu adaptation of the Hindi play scripted by a noted theatre artiste, the late Alakhnandan Sinha by the name Ujbak Raja Teen Dacoit. Many artistes also perform this play under the name Nanga Raja.
In this tale, a careless king, consumed by his obsession with new clothes, neglects his kingdom. Clever dacoits, pretending to be businessmen, exploit his passion, presenting a ‘magical’ outfit visible only to intellectuals. Fearful of appearing foolish, the king pretends to see it and parades through the kingdom without wearing any clothes. However, a child sees through the ruse, laughs, and exposes the truth by throwing water at him. Another king, who has experienced a similar ordeal, also enters the story. Finally, as the drama intensifies, the audience will witness a whirlwind of commotion and confusion, reminiscent of the climaxes often seen in comedy movies and plays. In essence, the story sheds light on the dacoits who deceive the king, making a fool out of him and extracting money in disguise.
Rajeev Ranjan, director of the play, elucidates the broader perspective and how the story remains relevant in today’s contemporary world. He says, “In the backdrop of significant economic challenges, there was considerable opposition when the government decided to permit the establishment of MNCs in India. The decision, aimed at rescuing the country from crisis, faced criticism initially. However, as events unfolded, it was recognised as a necessary step, given the circumstances. The play, written during that period, echoes concern about the potential exploitation of India by Western entities.”
He expresses that even though the play does not explicitly address MNCs in the modern world, it highlights that the country is still influenced by businessmen, marketers, and advertisers — individuals adept at conducting business, persuading people, and generating income.
Rajeev sheds light on the integral role of Mime in the play, emphasising its significance in portraying the storyline. He says, “In this silent art form, communication relies solely on movements, gestures, and facial expressions. During the play, the dacoits, disguised as businessmen, use Mime to present an invisible cloth to the king, successfully creating an illusion. Despite the absence of tangible materials, the compelling use of Mime adds a unique and immersive dimension to the performance, making it an interesting experience for the audience.”
Discussing his experience, Sai Krishna Grandhala, who will play the lead role of the king, expresses, “Despite my introverted nature, portraying the king demanded that I be expressive and adopt an extroverted persona. It was a learning process for me to embody those characteristics.” Bhavana Reddy, poised to take on the role of the queen in the play, offers her perspective, acknowledging the distinctive challenge posed by portraying historical characters. “To be the queen, I had to adopt a specific demeanour, behave in a certain manner, exude pride, and carry an air of regality to accurately capture the character,” she adds.
Free entry. December 23, 7 pm.
At Sundarayya Vignana Kendram (SVK), Gachibowli
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