A scene from Kalmrigaya

Kalmrigaya (1882), Tagore’s early attempt at adapting the Western operatic form into Bengali, continues enchant people. Celebrating the triumph of compassion over passion, this music drama still holds relevance. The inaugural evening of Bhowanipore Boikalik Association’s 10th anniversary programme (Rabindra Sadan, August 24) saw the staging of what may be described as the best production of Kalmrigaya in recent times.

The design was as good as that in an opera. The actors sang their lines well. The quasi-naturalist setting with the hanging catchers had the desired effect. Partha Majumdar’s Vidushak evoked much laughter. But it was Anirudhya Ghoshal as the Blind Sage who overshadowed all by virtue of his excellent acting and singing prowess.

Perhaps the only charge that could be levelled against director Tapan Mallick is that he cast a much older Leela opposite a Rishikumar in his early teens. That apart, it was a perfect blend of flawless singing and competent acting. What else can one expect from an amateur ensemble?

Sravangatha, presented on the final evening (August 25), was an honest effort. In general, contemporary improvised productions based on Tagore’s music and drama fall into either of the two categories: stereotypical and decidedly outrageous. Boikalik was successful in evading the trap. But all did not end well this time round. For instance, the sublime appearance of Venus crowning the morning sky in Dekho dekho shuktara was turned into a robust celebration befitting a symphonic finale by the dancers.

The presence of dancers to complement a full-bodied exposition of the seasonal cycles in the lines of Tagore slightly complicated things in Dhoibat’s presentation at G.D. Birla Sabhaghar (August 30). Sovon Som script had an eye for the colloquialism in the Tagorean ambit. The singers, consisting mostly of the Dakshinee alumni, were comfortably up to the task.

Soumyendranath Basu was pleasing in Alor amalakamalakhani, Arindam Bandyopadhyay oozed elegance in Ananter bani tumi, Rahul Mitra struck the right balance between detachment and restlessness in Aji sharat tapane. Aditi Gupta, Rinki Gangopadhyay and Srovonti Bandyopadhyay were the pick among the women performers.