Stage Version of Lalwani’s Drama Nagila

Summary

Hare Krishna Roy’s review, “Stage Version of Lalwani’s Drama Nagila,” describes a performance of Ganesh Lalwani’s play “Nagila” at Calcutta’s Star Theatre on 15 April 1984. Roy opens by reflecting on the human quest for higher civilisation and asserts that some individuals perceive an innate divine light beyond material needshttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/29#:~:text=With%20the%20struggle%20of%20mankind,infinite%20bliss%20and%20infinite%20power. Lalwani’s play draws on Jain literature and depicts that light as pure love transcending passion, desire and greedhttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/29#:~:text=Deriving%20spirit%20of%20his%20theme,1984%20by%20the%20young%20girl. The drama centres on Bhavadeva and his wife Nagila. Their deep affection is challenged when Bhavadeva’s elder brother Bhavadatta, a renunciate monk, visits. When Bhavadatta returns to his monastery, Bhavadeva accompanies him carrying a food bowl; bound by respect, he cannot force the monk to accept it or bid farewellhttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/29#:~:text=ago,On%20the. Bhavadeva follows Bhavadatta through fields and groves and, unable to turn back, enters the monastery where he reluctantly accepts initiationhttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/29#:~:text=to%20follow%20him%20through%20the,When%20Nagila%20learnt. Nagila’s reaction is emotionally charged. She initially weeps but ultimately recognises the impermanence of worldly joys and the path to truth. Twelve years later, after Bhavadatta’s death, Bhavadeva returns home. Nagila has matured spiritually and urges him not to deviate from the ascetic path; her selfless love encourages him to become a true follower of the Nirgrantha (Jain) doctrinehttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/29#:~:text=he%20had%20no%20other%20alternative,short%20is%20the%20story%20of. The play thus presents renunciation and self‑realisation as higher expressions of love. Roy praises Lalwani’s ability to weave Jain mythology into a universal tale and notes that the playwright’s background as a poet and journalist enriches the narrativehttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=The%20drama%20produced%20by%20Sri,His%20writings%20are%20always%20within. The review highlights the contributions of Rajkumari Begani, who translated the drama from Bengali to Hindi and co‑directed with Rajendra Sharma, ensuring the original’s mood was preservedhttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=the%20range%20of%20art%2C%20poetical,Begani%20has%20also%20an%20important. Rabi Biswas’s music, Anil Saha’s lighting, and Narayan Sarkar’s dance direction enhanced the productionhttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=mainly%20rests%20with%20Sri%20Rajendra,was%20by%20Sri%20Narayan%20Sarkar. Roy expresses admiration for the young female performers from Jain Siksalaya. He notes that Mamata Jain portrayed Bhavadeva naturally and Bandana Jain captured Nagila’s emotional complexityhttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=The%20drama%20was%20superbly%20enacted,The%20role%20of%20Candrakala. Chandrakala Surana’s depiction of Bhavadatta, Brinda Misra’s elegance as Mandira, and Punam Jain’s sincerity as Sudeva added depthhttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=was%20natural%20and%20appropriate,Kalpana%20Golechha%20as%20Pundarik%20was. Kalpana Golechha’s role as Pundarik and Hemlata Misra’s brief appearance as a cowboy were also commendedhttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=drama%20and%20the%20personification%20of,was%20true%20to%20the%20character. The standout performance, however, was Lata Kanodia as the traditional bangle‑seller; her natural manner when she “squatted on the floor and began to describe the multicoloured splendour of the wares” captivated the audiencehttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=bangle,eleven%20years%20old%20girl%20reached. Roy concludes that “Nagila” blossoms like a new flower in the garden of memory and imagination, combining graceful artistry with profound spiritual themeshttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=Thematically%20Nagila%20appears%20as%20a,example%20of%20grace%20and%20virtuosity. The play’s message—that pure love manifests in sacrifice and guides one toward enlightenment—resonates beyond its Jain context. Roy credits the production team and the young performers for bringing Lalwani’s vision to life and for demonstrating the universal appeal of Jain storieshttps://jainqq.org/pagetext/Jain_Journal_1984_07/520075/31#:~:text=The%20drama%20produced%20by%20Sri,His%20writings%20are%20always%20within.