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One would have never believed what 92 actors within the age
range (5 – 60), playing 110 characters, with just 8 mics on
stage; would have delivered Chanakya the way they did. More than
75% of the 30 plus production and direction team were women.
Music was locally composed and authentically produced in India
by the group comprising of composer Srini Kishore and team,
Sujatha Rayburn, Smitha Yellamraju and Srivalli Vempatti.
Technology was in full play and team-effort was in constant
motion for the two and half hours of live play; a fete in
itself.
Viren felt that the play unified the local talent, mined from
within our communities to cohesively participate and contribute
to Chanakya, a play of gigantic proportions. It proves that
collectively we can make magic especially when it is for a just
cause – like Chanakya did for India’s history. That it does take
a village to create something of this nature especially when
more than 50% of the actors are first timers on stage but do
have immense inert talent that needs to be tapped. Patience and
perseverance is extremely rewarding, especially when all
participants are not punctual. The play created a sense of
warmth and security to the approximately 100 Atlanta
participants, most of who had never met before and are now good
friends now. It is like building a community within a community.
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On stage, we find Acharya Chanak (father of Chanakya) and
Shaktar talking about the unjust and oppressive rule of King
Dhananand of Magadh. Young Chanakya goes to the University of
Takshasila to empower himself with education. After completing
his studies he becomes a professor. Masses suffered because
there was disunity and wars between kingdoms of Gandhara,
Kaikeyi and Magadh. Like his father, Chanakya, a Brahmin, is
also insulted and ill-treated by King Dhananand. Enraged,
Chanakya meets an extra ordinary child named Chandragupt, and
takes him to Takshashila for training. Chanakya and Chandragupt
team up to seek retribution against King Dhananand. The Greek
Emperor Alexander invades India. The weak kings of little
kingdoms are helpless against Alexander’s powerful army.
Chanakya and his peers try to persuade shortsighted kings such
as Ambhi of Gandhara and Dhananand of Magadh to unite but in
vain. So Chanakya decides to initiate a grassroots movement to
unite and awaken the masses (Uttishta Bharata). A change of
heart is brought about among the Indian mercenaries in the Greek
army to turn into freedom fighters. Many kings, ministers, army
generals and strategists unite to wage a war against Alexander,
under Chandragupt’s command. Death of a Greek Governor and
mysterious death of Alexander helps to drive away the Greeks
from India. Next Chanakya and Chandragupt use various stratagems
to bring about an end to dictatorial regime of King Dhananad and
to enthrone Chandragupt.
The 1200 seat sold-out show which lasted approximately two and a
half hours; universally evoked the sentiments of “Utishtha
Bharata”. The authentic early-age Indian music and culture,
delivered is notable; in that, no current century Indian
instruments like sitar, tabla, etc., were used for the
background score. Instead; veena, flute, dhundhubi, manjira and
trumpets were recorded. The music included chanting and
recitations of uplifting shlokas from the Vedas. Diversified 92
actors playing the 110 roles, acted very convincingly. The
elaborate period costumes, including those of the Greek
soldiers, Indian Royalty, Acharyas and students undergoing
training at the Gurukul in Vedas and martial arts; the lighting,
the props and varied backdrops of a hut, a rural scene, and the
palace hall; the furniture, battle scenes and accessories that
consisted of an elephant, the throne, coins, pots, urns,
sword-fighting et al., added to the artistic appearance and
presentation. Although there were only two Indian folk-dance
presented; young village women in colorful costumes joined by
the Greek soldiers, the choreography lingered till the end. The
scenes presented in rapid succession, had minimum stage dark
time in-between 12 scene and setting changes. “Kaal” the
narrator of the Chanakya history, used the time lapses very
artistically and profoundly. The audience enthusiastically
applauded at the end of each scene-change and gave a long
thunderous standing ovation to the entire cast, when the play
concluded.
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It is Syam Yellamraju, Atlanta’s prodigal
writer/producer/director, that presented this
full length, mega, 326 BC historical drama “Chanakya”, in
English. It was staged at the Clayton County Performing Arts
Center on Sunday, September 13th, to benefit the Chinmaya
Mission Alpharetta, (CMA). A career IT executive, Syam is
passionate about theater and credited with presenting successful
plays in the US including: Ramayana (in Hindi), Shri Sai Darshan
(in Hindi), ‘Hara Vilaasam’ and ‘Sri Venkateswara Mahatyam’,
besides twenty others. It is no wonder that he already has
requests from about 5 cities to stage Chanakya, as many of his
shows have travelled nationwide. He has been bestowed with
several Awards from TAMA, ATA, Hindu Temple of Atlanta,
Riverdale, Vamsee Arts etc. for enriching the cultural and
social life of our communities through his artistic talent.
To the question of what motivated Syam to produce Chanakya? He
replies: “I do not have the resources to produce a commercial
Broadway hit, but we got dangerously close. The team focuses on
community oriented shows, with a purpose. Chanakya was designed
to take the community theatre to the realm of professional
"Broadway like" show. We will not pursue Broadway shows, albeit
our team has the capability and the know-how, but not the
resources. It does not interest us either. We do shows for the
benefit of our communities and future generations, certainly not
for money. More than 50% of the artists would not have performed
if this was a money making venture. I wanted our kids to get a
visual treat of what “glorified India” meant and that we were
“cool” even in 326BC. Hence the reason, the play was even
delivered in English. Not one of the over 30 youth that
participated in the play will ever forget the history of
Chanakya. That is what I wanted to see achieved and our team
did! “A good show for a great cause” ”
Another equally important question that comes to mind is why
CMA? Syam states that this was the first ever fundraiser for
CMA. CMA’s teaching indoctrinates a Gurukul like environment and
Vedic learning is taught to students by Acharya’s. It is a
perfect parallel to Chanakya’s world. The organizers at CMA
learnt more, not only about what to teach their young based on
Chanakya’s advice but also, all about a good fundraiser.
Before the play was debuted, CMA Chairman, Pujya Swami
Tejomayananda conveyed Pujya Gurudev Swami Chinmayananda’s and
his blessings and good wishes on the occasion. CMA President
Sudha Malhotra welcomed everyone and introduced Board Member
Smt. Sharada Kumarji, who is resident Acharya of Chinmaya
Mission, Ann Arbor, Michigan and who has been an inspirational
and guiding force behind CMA from its inception. After a brief
introduction to CMA and its proposed project of an Ashram
project, she proceeded to light the diyas as a reverential
homage to Pujya Gurudev Swami Chinmayananda. CMA had initiated a
praiseworthy Chanakya Essay Competition for children, overseen
by Lakshmi Vedala, to motivate them to learn about Chanakya: his
contribution as a scholar, a Prime Minister, a shrewd diplomat,
and chief architect of the first Maurya Emperor, Chandragupt’s
rise to power. As the names of the winners from Elementary
School, Middle School and High School were announced, the
audience responded with a resounding applause. In addition, all
the names of the winners and profiles of the judges were
published in the program brochure.
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Assistant Director Krishnaveni opines: "this was an outstanding
team to work with. Experienced artists like Swaroop Nyshadham,
Udai Singh and many others added significant value to the
rehearsals. I am simply amazed and thankful to all for this
opportunity". Training and rehearsing with onstage artists (some
in multiple roles) and over 30 production artists, was done by
Krishnaveni Kesavarapu and a team of ‘stage directors’ (Namrata
Satuluru, Naveen Tyagi and Lakshmi Vedala). It was November 2008
that the idea was conceived followed by the initiation of the
execution of Chanukah. Syam and his entire cast of actors,
directors, helpers and team members deserve kudos for
spearheading this stupendously entertaining and
thought-provoking multi-stage show. Dedicated, CMA management
team of Sudha and Arvind Malhotra, Sameer Pateria, Bhavana and
KS Subramanian, K R Sundararaghavan, many teachers and
volunteers also deserve to be complimented as well, for their
devotion, time and effort with the publicity, marketing and many
other tedious facets. Kudos also goes out to Clayton County
Performing Arts Center’s team that made all the difference to
this outstanding event.
*Viren Mayani played “Kaal” the historical-time narrator. To
know all other pertinent details of “Chanakya” The play; please
visit: www.chinmayamissionalpharetta.org
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