Majestic Retelling of ‘Thadathagai’ – The Eternal Queen of Madurai
A jati accompanied with gaits of elephants marched on stage to begin the production ‘Thadathagai’ – The Eternal queen of Madurai. The extensive use of vachika abhinaya between scenes was particularly effective in conveying elements of the story that could not be depicted visually, providing valuable insights into the ancient Kadambavanam.
The story traced Thadathagai’s origins as the daughter of Queen Kanchanamalai and Pandya Raja Malayadwajan. The opening scene, where a young Thadathagai emerged from the yagna kunda, was visually striking depiction. Born with three breasts and foretold to lose one upon meeting her destined companion, Thadathagai was raised as a male heir following the death of her father. The portrayal of her education in Vedic knowledge, music, and dance captured the grandeur befitting a princess of Madurai. The accompanying jati, structured with pancha nadai, added to the scene’s splendour.
The martial arts and silambam displays, choreographed by T.K. Thiruchelavam, were exceptional and elevated the production’s overall impact. While the young Thadathagai could have been cast more effectively, the teenage Thadathagai compensated with a spirited portrayal.
Pandya Desam was depicted as a paradise, resonating with its ancient grandeur. Urmila, as the Sootradara ‘Sokki’, skillfully stitched the narrative together, though technical issues with the tambura and collar mic occasionally disrupted audibility. However, her voice carried beautifully through the hall when she spoke without amplification.
Sumathi’s portrayal as the first female minister was commendable, particularly during the preparation for a global battle. The climactic combat at Kailasha as Thadathagai’s glance at Siva caused her third breast to vanish, symbolising her transformation and love.
Costume design was thoughtfully curated, with distinct waistcoats for each scene. The horse and elephant portrayals were imaginative, though additional rehearsal could have enhanced their execution. The attempt at hasya rasa during the Nandi Gana scene fell flat, and Siva’s initial entry for the war with Thadathagai lacked impact; the costume of Siva failed to enhance the presentation.
The depiction of Thadathagai as an embodiment of Lakshmi, Saraswati, and Parvathy was gracefully portrayed. The Therukoothu performance for Sokkanathar’s dance at the Velli Sabha, set to the song Ondrangi Aiyondaaga, was vibrant.
The portrayal of Alagar Aathula Irangardhu was well-conceived, with the use of mallari for the procession being particularly apt. Despite minor shortcomings, Thadathagai was a well-conceived and creatively executed production, leaving the audience with a vivid portrayal of Madurai’s eternal queen.
SOURCE: SRUTI
