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| Acharya
Award For YGEEM |
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| Krishna
Gana Sabha Award For YGEEM |
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'Vethilaipatti Veerapan'
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The
play ' Vethillaipetti Veerappan' was a vivid portrayal
of the pretentiousness of human behavior. The protagonist
'Vethilaipatti Veerapan' , conman and rumour monger, has
an eye on the hefty dowry promised by a local politician
, provided his son marries the latter's daughter . Meanwhile
, Veerappan comes to know about his illegitimate son.
The son also comes to stay in his house , how Veerappan
realises his folly, confesses the truth and accepts Revathi
(his daughter -in -la about whom he he spread a rumour),
forms the rest of the play . The well-knit plot reveals
the conflict between opposing values in Veerappan’s mind.
The last scene, where Veerappan’s son lets every-one in
on an interesting truth, take the audience by surprise.
There were occasions for -laughter in the scenes involving
Kalai, (Veerappan’s brother- in law). But there was also
a lot of slapstick humour that failed to appeal to the
audience. Y.Gee Mahendra as Veerappan stole the show.
Subramani, also playing his mooring at regular intervals
,impressed as Kalai. Prushothaman’s role as politician’s
Muthurakku is worth a mention. The script had occasional
references to the current political scenario. The effects
of the lighting and the technique of using ear-shaped
cards to signify the spreading of rumours did well for
the plot. In all, the United amateur Artists did provide
light entertainment for the evening.
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THE
NEW INDIAN EXPRESS.
News Today 29-1-99
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Drama
Of rumours and political satire that the age is still
a powerful medium was provided by the inaugural show of
united Amateur Artists ‘Vethilapetti Veerappan’. The stage
has always had an added at traction, in the sense that
one is able to see the real person on the stage in flesh
and blood. In variance with the image on the big screen
and the small screen. This particular play revolves around
a comical theme of how the youngsters reform their elders.
Of course , it is an anti- thesis in the sense, in our
social set up it is the duty of the elders to correct
the youngsters by Y Gee Mahendra has found a rare theme
which is ideal for a drama . Karaikudi Narayanan, who
has authored the play has brought out the intrinsic beauties
of a drama in the various twists and turns that is always
associated with a social drama. The lead is played by
the one and only Y Gee Mahendra. He brings on stage ,
Vethilapetti Veerappan who delights in the sadistic pleasure
of spreading wild rumours about whomsoever coming his
way. The brings out effectively, the evils of rumour -mongering
and it brings forth the truth that rumour with its attendant
evil spreads faster than fire. How Veerappan collect money
for various purposes and mints money and spreads rumours
in the process is brought out effectively. The two -and-a-
half-hour drama has its usual quota of satire, on a Tamil
loving politicians who sends his children to English medium
schools. The problems of a Prime Minister heading a coalition
government also has a place. In the present social; set
up , the relevance of drama’s theme might be questionable
However ,the artists succeed in injecting an element of
realism in the otherwise unbelievable net of ideas. Veerappan’s
father, a Gandhian had died after realising his dram of
erecting a statue. In the process, he had to sell all
his property but the cause of his death was the shock
he had when he saw the statue having been disfigured the
very next day after it had been installed. His mother
shocked at the death of her husband also dies on the same
day. Veerappan takes a vow over the dead bodies of his
parents that he would make a living by spreading rumours,
well that was his decision and he succeeds in making money
that way. This is narrated by a reformed Veerappan at
the end of the at the end of the play who finds that the
balloon has been picked when he realises that it cannot
be sustained for a long period time . The adamant Veerappan
is taught s lesson by the youngsters-Veerappan’s son Gopi
,his friend Marikolundu, swapna, Revathi and Muthurakku.
Marikolundu , who plays the part of Veerappan’s illegal
son in the drama enacted to reform Veerappan, was supposed
to have been born to Jayam a village damsel. The MP, Muthurakku
is the father of swarna who has set her heart on marrying
Gopi. But the boy marries Revathi , a social worker who
works at an orphanage who has also been troubled by the
rumours of Veerappan. The MP has a sentiments that where
ever he goes he would only listen to the ‘ Saavu Molam’
being played which he calls mangala isai. Kalai, veerappan’s
brother in law is his assistant and always intervenes
with the wrong word. As the saying goes all’s well that
ends well, the drama comes o a happy end with Veerappan
being reformed of his rumour mongering ways . As usual
, Y. Gee Mahendra steals the show by being omnipresent
through out the play , however Balaji as Marikolundu excels.
Other in the cast are Subramani, Prushothaman , Murali
, Sunder Hanumanthan and D S R Rao.
- Deepa H Ramakrishnan.
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Vasool
Chakravarthy
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The message
of national integration is tidily brought out the end without
sermonising. Instead of the surfeit of violence and gore
one sees on stage and screen, the reforming power of kindness
and warmth is stressed here. The artiste acquit themselves
well. Thanks to their characterization, Murali as the Sardar
who dotes on his son and S.Suresh as Balbir ,the object
of his affection, are a notch above the others. Y.G. Mahendra
as Chinnadurai displays his usually versatility in the serious
as well as the comic moments. The play draws strength from
the dialogue by K.Dinakar. The theme and the handling frequently
gives the drama and the old-fashioned, "seen-before" air,
yet it provides an evening’s pleasant entertainment. The
direction is smooth the party scene especially is riotous
fun, while the bomb sequence gives a touch of pathos. In
‘Vasul Chakravarthy’ the wine is old, and though not invigorating,
soothes one with its familiar taste.
THE HINDU, Oct 8, 1993. |
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Although
dealing with an overworked theme, Y.G. Mahendra and team
imparted a certain freshness and carried off remarkably
their latest presentation ‘ Vasul Chakravarthy’ It was
good to se Mahendra come into his own in this play sans
all those annoying mannerisms, truly excelling himself
in all departments- story, dramatisation and direction.
Dialogues were by Dinakar. The second half of the play
picks up tempo and the ‘ tenants day’ celebration is a
thoroughly enjoyable episode in the play which proves
that Indians with their diverse cultures can acutely enrich
the lives of one, another. Suresh deserves special mention
for playing his part with understanding and sensitively
particularly when he pleads with Chinnadurai not to resort
to the use of bombs to get rid of them. Each character
is finely delineated with its own foibles and problems.
Good team work is evident. The play has its small share
of double entendre dialogues but they are delivered so
shackily that they get away with it. Vasul Chakravarthy’
is a lot of fun. If you’re looking for a zany comedy then
‘Vasul’ is recommended.
THE HINDU, Friday, October 8, 1993.
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SEIDHIGAL
VASIPATHU UAA REVIEWS
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United
Amateur Artistes’ latest offering ‘ Seithigal Vaasippathu
UAA’ (directed and dramatised by Y.G. Mahendra) is a college
of playlets, a couple of which are inspired by news items.
The writer Venkat gives his imagination free rein as to
what could have happened to those persons who made a feeling
passage through the columns of print or the takes off
on an event featured before such as a reading on the BBC.
The items culled are diverse and different and sometimes
rather bizarre – a sex operation which transforms two
loving girlfriends into man and wife, a series of letters
exchaned between boss and subordinate, a days silent fast
which costs the head of a family dear, and news of a missing
women whose disappearance is fertile opportunity for exploitation
by those around her.
Clothed in humour, a massage was sought to be put across
in each play. The acting was very good as usual, the versatile
duo Y.G. Mahendra and T. M. Sumramaniam complementing
each other perfectly and donning a number of roles with
the utmost ease.
THE HINDU, Friday, October 28, 1994
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A
PURPOSEFUL PLAY
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While
political satires and half-baked comic episodes have become
the order of the day, Y.G. Mahendra’s latest play, Vasul
Chakravarthy is a purposeful play coated with unpolluted
comedy and a bus-load of hilarious sequences. Besides
penning the story and directing the play, Y.G. Mahendra
depicts the title of the role. The nucleus of the play
is the focus upon the valuable humanitarian consideration
which is much more important then monetary aspects. It
also sheds light on the need for human beings to be more
consideration. The play also speaks about the growing
tendency among the people in the state towards violence
and aggressiveness. A purposeful play that drives home
an important message.
R.S. PRKASH EVENING MADRAS, Thursday, November 4, 1993.
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RIOTOUS
FUN
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What
a joy it was to see. Y.Gee. Mahendra and Venkat truly
come into their own in their latest venture Seidhigal
Vasipathu UAA- four hilarious short plays in one, inaugurated
at Rani Seethai Hall (Story and Dialogues Venkat, Dramatisation
and Direction Y.Gee Mahendra). The result us riotous fun
from start to finish. The duo proved that a fertile imagination,
supberb timing, teamwork, a great sense of humour and
histrionics of a high order can do wonders to even new-based
stories and other issues that to be talked about.
There was a serious side to it as well and some of the
plays made viewers stop and think for one brief moment
about the issues raised and in doing so Mahendra busted
the myth that anything with a massage is boring.
Serious themes all, handled brilliantly, exploiting fully
the comic element without losing sensitivity. Venkat’s
dialogues sparkled with wit and humour and the cast did
full justice to the delivery. The versatility of some
of the actors and actresses like Y.Gee. Mahendra and T.M.Subramaniam
who donned five roles each and J.R.Sheela who essayed
three roles was amazing. It was also heartening to see
several students of the Y.G.P Academy of Acting and Fine
Arts sharing the space with Mahendra.
Every one of the actors and actresses no matter how brief
the appearance did their part well. Characterization was
very good. Considering the diversity and incredible range
of characters portrayed in all the plays.
INDIAN EXPRESS, October 10, 1994.
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LIGHTS
ON
MEANINGFUL AND MATURE
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Handling
a play which has both suspense and humour is a difficult
task. But Y.Gee. Mahendra excels in this, in his latest
venture’ LIGHTS ON’ , a murder mystery. The Director successfully
manages to keep the suspense alive till the end.
The humour in the play is integral to the theme and Y.Gee.
Mahendra’s effort is laudable in that the production stands
out for its efficient handling. With its convincing story
line, the play compels the audience to sit glued to heir
seats. The characterization is excellent and their performance
has a professional touch.
THE INDIAN EXPRESS, Chennai, July 6th 1997.
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A bunch
of characters brought together in typical Hercule poirot
style. The reconstruction of the crime and elaboration
of the motive. The red herring and the real culprit. All
the ingredients in fact for the perfect murder mystery.
‘ LIGHTS ON’ ( Story, Dramatisation and Direction : Y.GEE.
MAHENDRA) engages the attention of the audition but does
not grip it. Humour and suspense are the two pivots on
which Mahendra’s plays usually rest. In play after play,
he has proved through perfect timing and quick repartee,
the art of sustaining both. In ‘ LIGHTS ON’ the suspense,
though not of the nail-biting kind, is well maintained.
The play was directed competently, and the actors filled
the bill.
THE HINDU- Chennai - August 1st 1997
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"RAGASIYAM
PARAMA RAGASIYAM"
(Silver Jubilee Year Performance)
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The play has been UAA'S
strike force since the year it was innaugurated in 1975.
Audio Cassettes of this play have spread all over the
world and the jokes of this play are almost household
topics. Like "Mouse Trap" in U.K.this play continues
to enthral audiences even today - 22 years after it's
innauguration and like "Mouse Trap", we have
been performing this paly all along. In fact based on
the audio cassette version of this play, several Tamil
theatre groups have performaed it successfully in USA
and other countries.
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"KAVALA
KAVALA"
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