Chitrangada: A quality presentation by the students of Sunnydale

Students of Sunnydale perform in Tagore's Chitrangada. PHOTO: STAR

A stormy evening perhaps created the perfect ambiance for Tagore songs. Young performers, clad in exotic colourful costumes, performed delightful Manipuri dances. All the dancers, singers and recitors belong to Sunnydale's senior section.

Chitrangada is a character from the Indian epic Mahabharata. The character intrigued Tagore so profoundly that he created a play (dance-drama) adapted from the original story of Chitrangada. Tagore gave Chitrangada a new identity, an identity that's not lost in the shadow of a hero, Arjun. In Tagore's play, Chitrangada gradually recognises her worth and is at peace with the realisation.

The King of Manipur, Chitrabhanu appeases the God Shiva and receives the divine blessing that all his offspring and descendants will be males. However, after the Queen gives birth to a female child, the King decides to raise her as a "son".

Princess Chitrangada trains in warfare, archery and politics. One day, while hunting in a forest along with her entourage, Chitrangada comes across Arjun, the legendary hero. Arjun, the third Pandava, has taken a vow to forsake all material pleasures for a period of 12 years. But no one has made such an overwhelming impact on Chitrangada. The princess, clad in armour and armed with lethal weapons, is love stricken and she is determined to attain Arjun's love. However, her masculine attire and looks don't impress the hero.

In despair, Chitrangada invokes the spirit of Madandev, the god of love and asks for a miracle. The wish is granted and Chitrangada is transformed into a ravishing nymphet. Her new avatar charms Arjun and Chitrangada's yearning to attain the hero's love is accomplished. However, Chintrangada comes to the realisation that she cannot keep Arjun beguiled with beauty alone for long. She decides to reveal her true identity, the identity of a valiant hero. She is certain that a hero will always appreciate the spirit of valour in others. And thus the punch line of the play is disclosed: A woman cannot be treated as a slave and exploited to entertain male instincts, neither should she be put on a pedestal and worshipped. Men should treat women as equals, as friends, lovers who will stand beside them in need.

Maliha Majen Khan and Sudeshna Swayangprabha as the two avatars of Chitrangada are impressive, specifically the latter's expressions and movements were credible. Nuzhat Shahzadi as Arjun seemed comfortable in her role. It's becoming a trend to cast female actors in male leads in plays staged by schools. The trend is commendable in the sense that it's free of gender-bias but a male actor in the role of Arjun might have been more interesting.

Sameeha Haq and Adrita Rahman lent their vocals to Chitrangada. The former's rendition of the classic Bondhu kon alo laglo chokhey was enjoyable; her voice has a certain grain that made the renditions interesting. Samina Hossain Prema's choreography and costume designs are laudable. Rokaiya Haseena was the music director of the play. Set and light designs by Abdullah Al Mamun and Mohammad Zillur Rahman respectively complemented the theme.