Show goes on

Just before the curtains were to be raised, the contractor rushed towards us and cried, ‘Please, save me’. He said the crowd was about to kill him. Why? Because the hall couldn’t accommodate all the ticket holders. A drama before the drama begins!”

The solution was simple: stage the play twice. “The curtain finally came down at 3am the next day. The crowd bid adieu with chants of ‘Inquilab Zindabad’.”

These lines from KPAC Sulochana’s autobiography Arangile Anubhavangal immortalise the impact of Kerala People’s Arts Club, popularly known as KPAC, which is celebrating its 75th anniversary.

In Kerala history, KPAC is an entire, separate chapter. From portraying the issues of ordinary people to playing an important role in shaping the state’s first government, the Kerala wing of the Indian People’s Theatre Association (IPTA), significantly transformed the cultural and political landscape of the state. And it all began in 1950 when law students N Rajagopalan Nair, G Janardhana Kurup, Issac Thomas, and S Prabhakaran Nair planted the seed of what would later grow into the KPAC.

Their vision took root during an impromptu discussion at CP Sathram in Thiruvananthapuram. However, even they might not have imagined that it would become legendary, and end up shaping a society.

KPAC staged its first play, Ente Makanaanu Sheri (My Son is Right) in 1951. But it was its second endeavour, Ningalenne Communistakki, that revolutionised the organisation, says Baiju Chandran, who recently retired as Director of Productions at Doordarshan and has authored Jeevitha Nadakam Arunabham: Oru Nadaka Kalam, which details the life and artistry of KPAC Sulochana.

“The play depicted Kerala’s feudal system for what it was, and went on to popularise the Communist movement. It inspired the weaker sections to stand up to exploitation and oppression. Soon, the government banned the play,” says Baiju.

However, the High Court lifted the ban and from 1952 to 1955, the play was performed all across the state.

KPAC went on to stage plays, each one better than the last, like Mudiyanaya Puthran, Survekallu, Puthiya Akasam Puthiya Bhoomi, Aswamedham, Mooladhanam, Koottu Kudumbam, Thulabharam etc, establishing itself further.

As it celebrates the 75th anniversary with year-long programmes, the KPAC is paying homage to its influential figures, including Kambisseri Karunakaran, Devarajan Master, ONV Kurup, KPAC Sulochana, K S George, KPAC Leela, and, especially, Thoppil Bhasi, whose 100th birth anniversary also falls this year.

While most of those who staged plays for the movement have bid adieu to this world, many who worked closely with the movement are still alive and continue to stand by it.

KPAC Leela, known for her lead roles in Thulabharam and Koottu Kudumbam, remembers her active years with a smile. “Back then, movie stars were not as popular. But the KPAC troupe was well-known everywhere. KPAC had a van and whenever we travelled, people would enthusiastically wave and offer us a grand reception. They would wait on the road just to chat with us. It was a truly unforgettable experience,” she says.

Baiju recounts an interesting incident in his book. Once, KPAC Sulochana was scheduled to perform in a play but could not make it as she was in Madras for a film shoot. Kaviyoor Ponnamma, a newcomer at the time, was her replacement. When they reached the venue, the locals and drama committee members were eager to see Sulochana and started searching for her. Upon learning she was not there, they declared, ‘We came to see Sulochana. We would not allow the play to proceed without her.’ They locked everyone up at the venue. The next day, Sulochana arrived, and only then were the artists released, and the play was performed. Such was the people’s fervent admiration for the leading stars.

‘A community experience’

Fifty-five-year-old KPAC Leelakrishnan began his acting career with the organisation when he was in Class VIII.

“It was like a university for me. KPAC was a strong community with a solid foundation. Everyone was aware of the importance of connecting with people and ready to take responsibility for the production. This collective understanding was the essence of KPAC’s success,” he says.

The leadership at that time was courageous enough to talk about certain things openly and honestly, he says.

“They were committed to society, and there was no distinction between those working behind the scenes and the lead actors. Evenings after rehearsals were lively, with everyone gathering around instruments, singing, and dancing. The days seemed to fly by. My honeymoon trip was even spent in the KPAC van because of the continuous shows,” he chuckles.

Those were the days, he adds. However, KPAC’s headquarters was a rented building in Kayamkulam in Alappuzha. And in the house opposite to it lived a young boy named M G Sasibhooshan, now a historian. He recalls the friendship between his father, Prof S Guptan Nair, and legendary playwright Thoppil Bhasi. “Their friendship transcended ideological differences,” he says.

Bhasi’s first play, Makananu Sheri, failed on the stage. “At that time, he was also in hiding due to legal problems. One day, he sneaked into our house through the back to meet my father and sat under a mango tree in the courtyard. He read out the play Ningalenne Communistakki. As soon as he finished, my father predicted that the play would be a success, which gave Bhasi renewed hope and confidence,” Sasibhooshan recalls. 

According to him, lack of a theatre troupe like KPAC was a setback for the Congress party. “KPAC’s performances are some of the finest examples of Malayalam popular literature. By portraying people’s pressing issues through its characters, KPAC touched the hearts of the masses and reinforced the foundation of the Communist Party. I have seen this firsthand,” Sasibhooshan says.

The legendary Bhasi

KPAC Rajendran, who dedicated 42 years to KPAC and played Paramu Pillai in Ningalenne Communistakki, started his career by working with various theatre groups before joining KPAC.

“But nothing compares to KPAC’s unique approach,” he says. And working with Thoppil Bhasi was an experience in its own, he adds. “He was very gentle, and his method of shaping characters was unparalleled. He patiently helped actors bring out their best,” says the artist.

Bhasi was a key figure in KPAC, playing an essential role in its success. Without any formal training, he travelled extensively, meeting people and creating impactful plays. And KPAC’s history is incomplete without Bhasi and his life.

“Father was very busy until his death,” says his son Soman Bhasi.

“We saw him just two-three times a year. When he came, he would play badminton and carrom with us. He would take us to movies, and his friends’ houses. However, he would be gone the next day, before we woke up. ‘You do what you want’ was his motto,” recalls Soman.

“I remember that if the year had 365 days, KPAC would have performances on 300 of them,” laughs Pradeep Thoppil, Bhasi’s nephew and son of KPAC Krishna Pillai. “Without getting much sleep, they would travel from one stage to another to perform.” 

In Olivile Ormakal (Memories in Hiding), Bhasi’s autobiography, he wrote about a circle inspector who came to arrest him while he was in hiding, but was still doing what he did best — staging a play. The inspector forgot about his mission and sat there watching the whole play.

“That was the strength of KPAC back then,” says Pradeep.

Revamp efforts

With colour televisions, followed by the popularity of cinema and TV programmes, public art forms like stage-play waned from people’s minds. And KPAC, the legendary institution that shaped Kerala’s public consciousness, had to find its footing in a changed world.    

Pramod Payyannur, who directed KPAC’s 50th and 51st stage plays, Innalakalile Akasham and Dravida Vritham, says KPAC is on a revamping mission.

“Theatre should produce plays that reflect the needs of the new era. Any art form that does not renew itself with the times will rust. And KPAC’s committee members are taking various measures to bring back the glory of the organisation. However, it has been 10-15 years since such renewal happened in a serious way, and those who love KPAC are disheartened,” he says.

However, Baiju Chandran says theatre is regaining prominence.

“KPAC is taking up new themes, and we plan to call for good scripts from youngsters. In this way, KPAC is trying to connect with the audience. And of course, KPAC has a brand value that will never fade away,” he asserts.

Kerala’s psyche has a deep attachment to KPAC, an institution that transformed the state’s theatre culture. And Baiju believes that in an era marked by communalism and Hindutva ideologies, KPAC’s relevance has renewed.

“KPAC and similar theatre movements will once again become the platform for progressive ideas, just like in the ‘50s,” he smiles.

‘Songs of the people’

Many remember KPAC as they hum the song Ponnarivalambiliyil, Kanneriyunnole.... The song propagated the theatre movement into new heights and straight into the hearts of the masses.  KPAC was not just about ideological plays, it was also about the songs, the drama, the tears, and language that was rooted among the masses.

Songs such as Sharkkarapanthalil, Bali Kudeerangale, and Ambili Ammava remain popular even now though some may not connect these tunes with KPAC. KPAC Beatrice, an all-rounder who acted, sang, and danced in the plays, says she used to sing with KPAC Sulochana in party programmes.

“Now, when I hear those songs, the memories of that time flood back into mind,” she says. These songs, the organisational structure, the connect with the masses, everything created a togetherness in the organisation, she recalls.