A touch of drama to Madras

The Hindu

3 days ago

On the topic of Tamil theatre in Chennai, K. Thambi Parthasarathy is a voice to be reckoned with. He has been on its front line from the late 1960s, as performer and observer of trends. Seventy five years old, he has taken the foot off the pedal in recent years, but only slightly. The outings to the centre stage have dwindled. But he regularly faces the centre stage, being a presence in the audience at plays staged at the Sabhas of South Chennai, particularly those in Mylapore and Mandaveli, the latter his home turf.
Over the decades, Thambi has seen acting heavyweights up close, their acting skills being shaped and crystallised by the stage and exported to the silver screen and the tellie. A typical example is that of Raja Venkatraman becoming actor Srikanth. Thambi himself has had dalliances with these electronic mediums, but never let them supplant his love for the stage.
During much of his active theatre career, Thambi held a government job, being on the rolls of the Chennai Metropolitan Water Supply and Sewerage Board (CMWSSB). The stage is easier on the practitioner in terms of time. Convenient late-evening hours can be scooped out of the week for rehearsals. The weekend can be arm-twisted without any resistance into accommodating performances. In case that gives the impression that Thambi viewed theatre as something to be pursued on the sidelines, take this. He took home the Best Actor award by the Mylapore Academy in 1991. Long-time Tamil theatre aficionados would remember his standout performance in Komal Swaminathan's Thanneer Thanneer; as also the one as Azhvarkadiyar in Ponniyin Selvan, directed for the stage by Prakash Kutty.
Not a surprise when you consider that his passion for theatre was born early and home-brewed. Thambi's father S. Kannan (a chartered accountant who had been engaged in the freedom struggle) co-founded Entertainers Group with his friends, Director Chellappa and Bala Subramaniam. A young Thambi started wearing greasepaint for the stage, encouraged by Director Chellappa, who helmed seven of Entertainers Group's stage productions. Thambi would emulate his father in as much he would keep his day job and passion for theatre in tightly-sealed compartments, ensuring justice is done to both.
Rehearsals were almost always held at Thambi's Mandaveli home. For every play, the cast committed themselves to a minimum of 30 days' practice before facing the audience. The 1,500 sq.ft house had a thatched-roof first floor, a space that became their cocoon of creativity and growth.
Among memories not blurred by time is that of K. R. Vijaya's diligent commitment to rehearsals — yes, she was part of Entertainers Group before attaining celluloid fame. 'She would come for rehearsals every single day,' recalls Thambi. 'Though practice would start at six in the evening, she would arrive much earlier for some social banter with my mother and grandmother.'
Rehearsals were never hurried run-throughs. The director and writer would take meaningful pauses and fine-tune scenes, recreating the play right till the time the stage is just a nervous step away. Sessions ran from 6–6:30 p.m. to 9–9:30 p.m., getting extended as the premiere loomed large. Since all members had day jobs, evenings were their only window for practice.
Entertainers Group seemed to have consciously applied filters that narrowed down the focus to comedy. A signature production was Love in Madurai, written by K.K. Raman, a comedy-spinner par excellence with an expansive sphere of influence, one that touched stalwarts such as Crazy Mohan. Thambi takes a well-considered and balanced view of comedy. While acknowledging its place, he was clear about enforcing its limits. He points out: 'Comedy should come along with the story,' he says. 'Nowadays the aim is only at comedy. People say they come here only for relaxation.' He champions serious theatre, as borne out by his admiration for Fathima Babu's Un Kannil Neer Vazhindhal, which packed a punch without punchlines.
When Parthasarathy later worked with other drama troupes, rehearsals shifted to new spaces. V. S. Raghavan's plays were practised at his Raja Annamalai home; the Prasanna troupe met at director Prasanna's Royapettah residence or at Venkateshwara School in Abhiramapuram; and Komal Swaminathan's plays were often kneaded together at a Kalyana mandapam in T. Nagar.
Having a theatre career spanning decades and nearly half-a-dozen troupes and a wide variety of plays (including Major Sundarrajan's historical plays), one is bound to be at the coalface of changes overtaking the medium. He has seen the stage change in how it looked and sounded. He has heard plays move from live music to gramophone and then to pre-recorded tape and now to higher technology, where much is wired invisibly to the cloud. 'We brought in pre-recorded songs during dramas,' he says, recalling how he and his friend Suresh made that small tweak, one that helped change the backstage game.
In those days, production costs were modest, but so were the returns. 'We never earned a profit,' Parthasarathy admitted. 'We even funded the plays ourselves. It was never about the money; it was about contributing to the art form.'
The highlights
Plays by Entertainers Group include Aravanudhan Aasai; Kavilum Thaalamum; Love in Madurai; Top Secret; Dhideer Manaivi; Suya Dharisanam; and Karaiyai Thodatha Alaigal
Thambi Parthasarathy has acted in over 60 television serials. Notable serials include Kasalavu Nesam (directed by K. Balachander); Raghu Vamsam; Premi and Veetukku Veedu Looti.
Lessons and associations
Thambi Parathasarathy has earned friends and well-wishers across the performance arts, and has also got to hone his craft with lessons learnt from the stalwarts, including actor Nagesh. He has seen Nagesh essay roles on the stage and has also had the pleasure of discussing with him, the nuances of stage acting. Thambi had a long theatrical association with actor Srikanth, who personified an abiding love for the stage. Srikanth would not sever the umbilical cord he had with the stage even after celluloid success; he formed Sri Theatre.