Ramlilas innovate with special effects, costumes to keep magic alive

NEW DELHI: The victory of good over evil. Preachy as it may sound, this ancient theme has, over the years, fuelled innovative thinking amongst prominent Ramlila groups. The distinct influence of Bollywood and slickly produced mythological serials have transformed crude, calendar-art like performances into sophisticated shows their increasing extravagance a benediction from the devout and generous.
Shree Yuva Ramlila Committee of Kalkaji, one of the smaller groups in the city, spent almost Rs 3 lakh last year. This year, bejewelled costumes and special props have further pumped up the cost of the show.
Rakesh Khurana, president of the committee, believes that while the Kalkaji Ramlila is not as large and glitzy as the ones in the Walled City, it is hugely popular because of its imaginative styling and techniques. "We don't tamper with the storyline, but we change its dramatic expression,'' says Rakesh. For instance, Kumbhakaran, played by 41-year-old Mahendra Pal Juneja, is roused from a deep slumber with a jalebi that weighs 2.5 kg. Gigantic bread pakodas, put on skewers so they look like chunks of meat, are also part of Kumbhkaran's daily sustenance. Tadka, a demoness who spews fire before being slayed by Ram, is actually made to drink mitti ka tel (kerosene), for the flames in her mouth are real. "These scenes are a rage with kids the best way to connect with a younger audience is to reinvent tradition,'' affirms Rakesh. After the performance, the troupe travels to Hardwar, for `shuddhi' they pray for forgiveness, in case the performance has insulted the gods with its inaccuracies.
But does the new-age Ramlila teach a relevant lesson, or are its black-and-white characters out of place in a world of gray morality? Ashok Kumar, the soft-spoken and affable actor who has been playing Ravan ever since the group was formed, is quick to react: "Ravan wasn't just a wicked king lusting after someone else's wife; he represents the evil lurking within us all. He was extremely learned, but arrogant, and that brought about his downfall. Is his life, then, irrelevant to us?'' Ashok, who has been successfully terrorising a crowd of almost 1500 people year after year with his red-eyed manic performance, believes that playing Ravan has been cathartic in many ways: "Andar ka rakshas bahar rangmanch par prakat ho jata hai (My inner demons find the perfect outlet on the stage).''
The Ramlila performed by Shree Dharmik Leela Committee in the grounds opposite Red Fort is also true in spirit, but jazzy in style. According to Vishwanath Gupta, mela mantri with the group for almost 35 years, the committee spent around Rs 60 lakh last year, on the arrangements for the fair, food stalls and the mega Ramlila. This year, despite the fear of terrorism looming large, the preparations are at an equally grand scale with the addition of around 1500-2000 volunteers to guard the entrances and frisk the crowd that usually swells up to 10,000 people, as well as nearly 40 CCTVs to nail miscreants. A sprawling Lanka, gilded to create the illusion of a kingdom of gold, with towering minarets, 40 feet high, is being built for the show. Effigies of Ravan, Meghnath and Kumbhkaran, draped in splendid angrakhas, are being designed by Shakeela Bano and her son Arif. "Bahut juda kam karenge is baar (We're planning splendidly different outfits this time),'' says an excited Shakeela Bano. Upon being asked why the forces of evil are being draped in exquisitely embroidered silks, she explains, learnedly, "Ravan bhi to mahagyani tha; woh alag baat hai ki uske buddhi bhrasht ho gaye (Ravan was extremely intelligent, but he used his learning in a perverted manner).''
The Ramlila, performed by around 50 actors from the Adarsh Kala Sangam in Moradabad, has enough special effects to entertain an audience exposed to sophisticated animation on TV and cynical about traditional art forms. Braham Dev Soni, director of the show, is firm about the fact that the performance is an actual "darpan'' (reflection) of mythology. The special effects, for instance, a Lakshman Rekha that emits flames the moment Ravan (in the garb of a sadhu) puts his foot on it, but dies down the moment he moves away, are only to bring alive moral values, without being didactic. "Perhaps Lakshman Rekhas are no longer relevant, but we can at least remind people of a time when they were,'' says Braham Dev.
Apart from special effects, traditional Ramlilas have also acquired sophisticated acoustics. "The actors only have to lip sync; we have voice-over artistes who read the dialogue backstage,'' says Hari Chand Aggarwal, president of the Nav Shree Dharmik Leela Committee, which broke away from the Shree Dharmik Leela Committee in 1958 (the original, united group was founded in 1935). The group, which boasted the city's first revolving stage in 1958, now has a rangmanch with a backdrop that is 35-feet high, and a protruding platform that creates the illusion of gods walking, talking and flirting in midair. The organizers spent around 25-30 lakhs last year on the arrangements; this year, with the sheer extravagance of gold mukuts (crowns) for the actors and pure silver chairs for Ram, Sita, Lakshman, Bharat and Shatrugan, the expenses are likely to escalate. "We get donations from wholesalers in Sadar Bazaar, Khari Baoli and Chandni Chowk, so we usually put up a good show,'' says Hari Chand.
Next door to Nav Shree Dharmik Leela Committee on the Red Fort grounds, is the equally popular Luv-Kush Ramlila Committee. An icy Amarnath gufa (cave) is being built at the entrance an eye-catching novelty to lure the crowds away from the competition. The show too, will have tech-savvy gods and demons laser beam warfare will replace the traditional bow and arrow. Despite the futuristic look, at the heart of it all is an ancient moral lesson. "We worship Ram and Sita during the period both characters play the roles; for we believe that they acquire godlike traits,'' says RK Gupta, lila mantri. There are no parties after the show, no smoking, drinking or revellery to unwind after the make up comes off. For, the subjugation of evil is serious business, at least on stage.
(radhika.oberoi@timesgroup.com)