Kaali Naadakam - Lokadharmi - Sajitha Madathil - Chandradasan

KAALI NAADAKAM – The play of Kaali (written by Sajitha Madathil, designed and directed by Chandradasan – 2017). A rural temple is gearing up for the ritualistic performance of ‘Kaali Naadakam’, - which was stopped in this temple since 51 years, as the actor playing Kali killed the actor playing Darika, during performance. The show that starts normally takes an unusual turn when Kali, played by a Dalit woman- a victim of much injustices - kills Rama Kurup, playing Darika. The devotees see the incident as Goddess restoring justice, the police as an act of crime and for the media this is something sensational. In the melee, the real issue goes unnoticed and Kaali, with her sidekick, define their own path. A contemporary reading of the ritual performances on the Kaali concept and her annihilation of Darika, the demon King. The play set in the ambience of a village Temple festival gearing up for a ritualistic performance of Kaali Naadakam where Goddess Kaali kills the demon Darika to restore world peace. But the ritual was stopped then as the actor playing Kali killed the actor playing Darika, the demon king. The devotees see the incident as Goddess Kali restoring justice to the world, the police see this as an act of crime and is a moment of sensational reportage for the media. In the melee, the real issue raised by Kali, the actor, goes unnoticed. She, along with her sidekick Kooli, sets out to define their own path. The main narrative structure of the play is based on the ritual of Kali Naadakam, but gets another dimension when the reality of a murder is juxtaposed with the ritual, linking up the ritual to the contemporary realities. Hence elements from ritual performances like Kaali Naadakam, Kaliyoottu and Mudiyettu are adapted, while keeping the acting styles and narrative subtext very realistic. The play progresses along these two channels of expression, or rather in the union of these two diverse channels creating a new realm of aesthetics. The reality of a murder juxtaposed with ritual performances links the play to contemporary realities. Elements from many ritual performances are adapted keeping realism in acting styles and narrative subtext. The play progresses along these two diverse channels of expression, -ritual and realism - or rather in the unison/merger of these two The play is a take on contemporary social issues/incidents, atrocities on women and Dalits, changing facades/structures of festivals/rituals/beliefs, state/power, law and order, media and ….… Cast Sajitha Madathil • Priya Sreejith • Zumesh Chittooran • V R Selvaraj • Jayachandran Thakazhikkaran • Gopan Mangattu • Sudhi Panoor • Aji Thiruvangulam: • Anugraha Paul • Devika:Hemanth :• Mithulesh Cholakkal • Manoj Bhanu • Nazarudheen Valiyaveettil • Chathuri Mohan • Vishnu K Nair • Rahul Sreenivasan • Sajeev Roy Crew Folk theatre training and Kalamezhuthu– GURU NARAYANA KURUPU Set- BHANUVAJANAN Properties- ZUMESH CHITTOORAN Assistant Director- ANTONY PETER Subtitles – SHAJI JOSEPH Makeup design -PATTANAM RASHEED Make up – KALAMANDALAM VAISAKH Choreography – SREEJITH P DAZZLERS Lights design-SREEKANTH CAMEO Lights – JOLLY ANTONY Art and costume- Designer -SHOBHA MENON Sound Music Design-CHANDRAN VAYYATTUMMEL (PARIS CHANDRAN) Written by SAJITHA MADATHIL Design and Direction CHANDRADASAN Production and Presentation - LOKADHARMI KOCHI