The Lone Royal Swan…
The Life of Bal Gandharva
Manjusha Amdekar
Translated from the original Marathi (“तो राजहंस एक…”)
5. Discord Once More
Misunderstanding
Bal Gandharva loved to move about on the stage in elegant finery. He showed no hesitation in buying rich garments befitting each role, and spending whatever money was needed to bring that role to life. Govindrao was displeased with his extravagant disposition. Once, he even wrote, “All that Bal Gandharva knows is to indulge his fancies, to insist stubbornly on them, and to keep circling within the orbit of whoever will gratify those fancies.” Taking unfair advantage of this displeasure of his, someone spread rumours and sowed misunderstandings between him and Bal Gandharva. Meanwhile Balasaheb Pandit was always ready to act upon Bal Gandharva’s every request. His own wish, indeed, was that Bal Gandharva alone should become the proprietor of the company, and soon enough, that came to pass.
During their stay in Nagpur, Govindrao’s voice, once it had begun to fail, kept on failing. Dattopant began to perform in his place. Ganpatrao therefore raised the point that the extra salary which had to be paid on that account should be borne by Govindrao —such was the point Ganpatrao put forward. The doctors advised Govindrao at least two months of enforced rest. Taking advantage of this, Balasaheb began to put about the idea, “Even without Govindrao the plays go off well. So why is he needed at all?” Bal Gandharva kept silent on this statement. This exasperated Govindrao. He went to Mumbai and, in May 1915, handed in his resignation. It was decided that he should be paid Rs 7500 as compensation for his share. And then, after that, it was further settled that Bal Gandharva should have a 10-anna share and Bodas a 6-anna share. In short, within a short time of the Gandharva Mandali’s founding, a split had occurred among them.
Bal Gandharva’s Illness
Soon, for some reason, illness came upon Bal Gandharva. He was very fond of swimming. Whenever he got the chance, he would indulge this fancy of his. During their stay in Nashik, he fell ill from swimming in the Ganga, and his throat gave out completely — so much so that the shows had to be stopped. The company had to shift their stay to Pune. Bal Gandharva was obliged to take rest. In Govindrao’s case, Ganpatrao had raised the point that the cost of the substitute artiste should be borne by him. But this time he could say nothing at all. For no one else could play Bal Gandharva’s roles. Even if Tembe left, the company kept running; but if Bal Gandharva left, nothing of the company would hold good — this Ganpatrao well understood. So, this time he sat saying nothing, swallowing his words.
When Bal Gandharva had left the Kirloskar company, Gadkari had been displeased with him. But after some time his anger subsided. He read out his play Punyaprabhav to the Gandharva Mandali. They liked it, but as the terms could not be worked out, that play went to the Kirloskar Mandali.
After leaving the Gandharva Mandali, Govindrao started his own Shivraj Mandali. As a result, all those who loved him — Dada Ladu, Rajaram Bapu Purohit, Pandoba Kshirsagar, Balwantrao Pethe, Govindrao Mulgaonkar — left the Gandharva Mandali. Close on their heels, a few more artistes set out to leave as well. So Bodas had to draw up a 3-year contract with Pethkar, Pandharpurkar, Devdhar and Ranade. All this can only be called an astonishing turn of events. For, by staying in the Gandharva Mandali, one would gain ample salary, stability and popularity. And yet the people were discontented. The reason was that Bal Gandharva was the proprietor only in name. Conducting of affairs lay wholly in the hands of Ganpatrao and Balasaheb. People had begun to leave as they were not willing to abide by their strict discipline.
Later, during their stay in Baroda, illness came upon Bal Gandharva once again, this time from the ailment of pleurisy. The shows stopped. But to allow the shows to be stopped for many days would not do, else how would the company manage? Therefore, an actor named Master Krishnarao Phulambrikar was groomed for Bal Gandharva’s roles. Thanks to the play Sant Sakhu, this boy had become quite popular. He was very clever, and so had become a favourite of Bhaskarbuva. He played the role of Sharada during their stay in Baroda.
Deval Too Departs
Later Bal Gandharva recovered, and the company took up performances at Pune and Belgaum. But just then Deval fell ill and went away to Miraj. In accordance with his instructions, Ganpatrao took on the responsibility of rehearsing the play Sanshaykallol. The play was rehearsed and set. It was decided that the first performance would be staged in Hubli. But before that play could reach the stage, Deval breathed his last. Since this play of Deval’s had become so popular, he had resolved to write a play called Vatsalaharan. But the goddess of death gave him no such opportunity.
The plays Deval had written, Mrichchhakatika and Jhunjhararao, were adaptations, yet they had turned out so exquisitely beautiful that they deserved to be ranked as original works.
Moreover, Sanshaykallol, though based on an English play, had been so seamlessly adapted by Deval that it almost appeared to be an original. In this play, he had achieved a tremendous fusion of realism and aesthetic delight. He was not only an excellent playwright, but also a superb teacher of theatre and had laid greater emphasis on natural acting.
Sanshaykallol
Both Bal Gandharva and Keshavrao Bhosle staged productions of Sanshaykallol, and both their productions won the audiences’ approval. There was competition, but it was healthy. The Gandharva company, however, had to train new accompanists, because a good many of the troupe’s people had left along with Govindrao. Raghunath Rabakavi joined on the tabla and Gundopant Walavalkar on the harmonium. From November 1916, with its new ensemble, the Gandharva company began staging regular performances of Sanshaykallol. It is said that whatever lustre this play acquired then never faded. The play had won the distinction of being called “the finest comedy in Marathi,” and no one was able to snatch this distinction in those days.
To be fair, Sanshaykallol was not entirely brand new. A plan had been drawn up to present afresh the play Phalgunrao, which had first come to the stage in 1893. Deval himself had suggested that it be dressed up with music and, with a new ensemble, brought back to the stage in a new form. The same play Phalgunrao then appeared on the stage under the name Sanshaykallol, in which Bal Gandharva played the role of Revati, while Ganpatrao Bodas played Phalgunrao. This was the one play from which, had Bodas been removed, the play would have been left wanting. He performed that role with such power that the play simply could not be carried off without him.
In the 10 or 11 years from 1906 to 1916, of all the roles Bal Gandharva played, only two could be called social. The first was Sharada in Sangeet Sharada, and the second was Saraswati in Mativikar. Against the backdrop of these serious roles, his role of Revati in Sanshaykallol was far more playful, with an extraordinary fusion of both humour and romance. No actor could have rivalled the way in which Bal Gandharva portrayed this Goan woman by pouring life into the role. Sanshaykallol represented old ingredients in an entirely new form and made a home in the audience’s hearts.
Swayamvar
Next came Swayamvar. The first performance of Swayamvar took place on the Mumbai stage on December 10, 1916. Bodas played Krishna and Bal Gandharva played Rukmini. This play too became extremely popular. Its special feature was that through it, Bal Gandharva acquired the art of carrying an entire play to brilliance on his own strength alone. This was because Khadilkar had written the play giving special importance to Rukmini’s character. Like Bhamini and Devayani, this role too, though dominated by the romantic sentiment, has a distinct shade of its own. Here, since Rukmini renounces her family and her comfort to go with Lord Krishna, this role had acquired a quite different facet. Bhaskarbuva had set the tunes of the songs with greater grace and refinement. Bal Gandharva sang them with such immersion that, thanks to this play, he had even begun to gain non-Marathi admirers. Because Gujarati and Multani people too began to throng to it, Swayamvar became synonymous with boundless wealth.
What Govindrao called the “connoisseur class” was the class of wealthy Gujarati people in Mumbai. They came to feel such devotion toward Bal Gandharva that they even stopped going to see plays in their own Gujarati language. What is more, even Alladiya Khansaheb himself began to attend Bal Gandharva’s plays. He would be moved to tears when he encountered Bal Gandharva striking notes so effortlessly, which he himself could never strike despite a lifetime of devotion to the art.
Within barely a month, by seamlessly performing the differently flavoured roles in the plays Sanshaykallol and Swayamvar, Bal Gandharva had created such a stir that a very great prestige had now begun to gather around him. Until 1916, people had admired him, but admiration had been replaced by devotion. People now stopped talking about how well his performance had come off, because Bal Gandharva’s acting and singing had become a standard by itself. People had developed a spirit of faith and reverence for him.
Chain of Notable Events
Through this whole period, a number of events both good and bad occurred one after another. After leaving the Kirloskar company, the Gandharva company was founded; Joglekar passed away; Bal Gandharva rose to the summit of fame; then Govindrao Tembe and other fine artists left; on account of the plays Sanshaykallol and Swayamvar Bal Gandharva became an object of the people’s devotion; and in 1917 Dattopant Pethkar too passed away and Pandharpurkar was assigned to take his place.
Although Pandharpurkar was stately, the absence of beauty, grandeur, delicacy and expressiveness were felt. Ganpatrao Bodas was worn out in the attempts at preparing him as a leading man.
Ekach Pyala
Although Deval’s and Khadilkar’s plays Swayamvar and Sanshaykallol were both running excellently, the Gandharva company now felt the need to bring something new to the stage for a change of taste. Gadkari’s plays Premsanyas and Punyaprabhav were enjoying great acclaim. Therefore within the Gandharva company, the thought arose of getting him to write something for them. After their stay in Mumbai ended, the company went to Baroda. Once the planned program concluded, all of them came to Pune. Gadkari used to visit them frequently. By now, the anger in his heart had subsided.
Ganpatrao and Bal Gandharva initiated talks with him about a new play. Gadkari said, “Narayanrao, I will give you a play, but in my play you will have to go about wearing a tattered sari. Is that acceptable to you?” Bal Gandharva’s fondness for fine garments and jewelry was well known to everyone. So Gadkari’s guess was that he would surely not agree. But Bal Gandharva was a born actor. Moreover, he had complete faith in Gadkari’s writing. So, without losing even a moment, he said, “Why, never mind a tattered sari—I am ready to work even wearing a sackcloth. But we must get your play.” And then, in this very sitting, Gadkari resolved to write Ekach Pyala for Bal Gandharva!
But there was no telling how many days might pass before a play would come from him. Besides, there was also the dread of him having mood swings or feeling angry again. Therefore, the Gandharva company decided to prepare some other play in the meantime. Accordingly, Shripad Krishna Kolhatkar’s play Sahacharini was obtained. This was a comedy built around a husband with two wives. But this play did not receive the kind of response from the audience that one might have hoped for. In fact, this play flopped outright.
Meanwhile, in the joy of now being about to receive a new play from Gadkari, Bal Gandharva was absorbed in performing his usual roles with even greater immersion. But alongside the plays, the thought of taking up some new business too was churning in Balasaheb Pandit’s mind. There was a possibility of securing a contract at Gwalior to manufacture certain goods useful to the army, and so he planned a tour there. With the notion that the royal patronage there might afford an opportunity to gain support for new plays, neither Bal Gandharva nor Ganpatrao raised any objection.
In July 1918 the Gandharva company encamped in Pune. The company’s anniversary was celebrated in Pune every year. So, throughout the monsoon the company would pitch camp in Pune. Pune was the monsoon capital of the Bombay Presidency. Hence during this season, even the Governor used to reside in Pune. Pune was regarded as the cradle of learning, or a city of students. Therefore, a varied audience—the students here, the original residents, wealthy connoisseurs who had come for the races, the nobles, the princely chiefs—was readily available to the Gandharva company.
Soon the manuscript of Ekach Pyala fell into the Gandharva company’s hands. Rehearsals began. Bodas was to play the role of Sudhakar and Bal Gandharva that of Sindhu. Pandharpurkar, Abhyankar, Devdhar, and Ranade were to perform the other roles. The role of Sharad fell to the lot of Master Krishnarao. This time, Bal Gandharva, in composing the songs that fell to him, took the help of the renowned Pune singer Sundarabai Jadhav. The remaining tunes were managed by Pandharpurkar and Krishnarao.
The plan had been settled to present the first performance of this play in February 1919 before the Maharaja of Baroda. But Gadkari himself fell ill with tuberculosis. Then, as he himself suggested, it was decided to have the opening songs done by Vitthal Sitaram. Once he felt better, Gadkari was going to write fresh songs, but no such occasion came about. For before the play reached the stage, Gadkari took leave of the world on 23 January 1919.
But, as planned, the first performance of this play took place at Baroda. In Baroda, everything was done in courtly grandeur. There was a rule that the audience had to come to the play dressed in a prescribed costume. When the Maharaja pressed an electric button, it was understood that the curtain was to be raised. The Maharaja liked the play so much that he gave Rs 2000 more than the sum he had fixed for each year.
After that, the Gandharva staged this play in Mumbai. Because Gadkari’s earlier plays Premsanyas and Punyaprabhav had made discerning audiences mad with delight, they were eager to see his new play. Moreover, since Gadkari had passed away, the audience naturally regarded the play with a sympathetic eye. But, for audiences who had come carrying in their minds the equation that a play means entertainment, the first sight of this new play with its social content proved deeply unsettling. Earlier, the plays Sangeet Sharada and Kichakvadh had caused a commotion. But this play stirred society inside and out. Everyone knew what the addiction of drinking liquor leads to; but to see a family so utterly ruined left people shaken. To see Ganpatrao—who otherwise played comic roles—perform such a pathos-filled role left the audience astonished. The roles of all the others too were performed exquisitely. But what truly moved the audience from within was watching Bal Gandharva’s Sindhu. Gadkari had drawn the character of Sindhu most remarkably. But people could not believe their eyes when they saw Bal Gandharva—who otherwise moved about in splendour wearing rich brocaded shawls and stoles and jewelry, looking beautiful—giving an exquisite performance in a tattered sari. Bal Gandharva understood the weight of this role, and had taken special pains over all such things as his dialogue, his pronunciation, his delivery of words, his movements, and so on. When, wearing a Maheshwari sari, he came onto the stage singing “Manas ka bandhirave,” he would instantly seize the audience’s hearts. The moment he began to sing the songs “Chandra chavathicha” and “Baghu nako,” the audience were thrilled. To them, he seemed the very embodiment of motherhood and compassion.
Until now, the roles Bal Gandharva had portrayed had been dominated by the romantic sentiment. They had shown brilliance and opulence on the stage. But here, on the contrary, the gloom of poverty was spread all around. Yet by Sindhu’s radiant conduct, by her penance, even that gloom would take on a glow. Year after year, audiences would literally come to this play to weep their hearts out along with Sindhu. They found the joy in weeping more deeply moving than that in laughter. Bal Gandharva’s tattered sari had taken on the luster of a ceremonial robe. The songs that Gurjar had composed as a stopgap went on resounding in fame for good.
Here, at this stage in this play, Bal Gandharva’s acting had, as it were, attained a kind of completeness. A vision of complete maturity was being revealed in him. But it was as though every one of his triumphs had been cursed with a dark shadow. The death of his daughter at the very first performance of Manapaman; close on its heels the death of Joglekar; and, when for once a never-before Gadkari–Bal Gandharva alliance had come together, the death of Gadkari before their very first play… all of this was the soot that had settled upon Bal Gandharva’s extraordinary success.