A moment from Eengagi Nongma

Eengagi Nongma is one of Mohan Rakesh’s most celebrated plays.

Originally called Ashad Ka Ek Din, the current version has been translated by E. Dinamani Singh. The production comes from the Manipur-based Khoriphaba Artiste Association.

Directed by Kh. Ranbir, the play tells the story of Kalidasa the poet through the eyes of Mallika, his confidante and muse of his later works such as Ritusamhara.

Mallika remains central to all the three acts and stands apart for her commitment to literature, poetry and nature. She is the one who prods Kalidasa to seek a job in Ujjaini in the king’s court. Her relationship with Kalidasa, however, comes under the scrutiny from another poet (Vilom) who tries to woo her.

Mallika’s devotion for Kalidasa is contrasted with her marriage to Vilom.

Her character is probably one of the most famous paradoxes in Indian literature.

The play, full of dialogues and biographical in content, has a loyal viewership. Though written sometime between the sixties and the seventies, it has remained in public memory for long.

For most amateur groups that mushroomed in various theatre spaces from the eighties to the nineties in Manipur, the play stands as a benchmark for good quality and consistent characterisations. It was a time when plays were studied for their context and connections.

Two key portions enmeshed in the play pose a challenge to the performers.

One is the mastery with which the play covers the essence with poetic and romantic lines.

The second challenge is the scarce viewership to this genre of theatre. It is in the first aspect that the present play struggles the most. This is where the play lacked information and why the play falls flat. Actors who played the roles of Kalidasa and Mallika (A. Manglemba and M. Laskhmi) did a significant job. The sets and props were good and realistic.

The background score could have been a little more audible. The costumes seemed to be heavily influenced by local elements.