The Lone Royal Swan…
The Life of Bal Gandharva
Manjusha Amdekar
Translated from the original Marathi (“तो राजहंस एक…”)
3. Marriage and Stability in His Career
Tying the knot
In those days, boys and girls were married off early. They often became parents too at a young age and become immersed in responsibilities and duties. Generally, the modest expectation from life was simply to live one’s days honestly, walking the straight path in fear of sin, and then to pass on. But for those who worked in the field of art, it was very hard to get to live such plain, ordinary lives. Those associated with theatre tended to be viewed with suspicion. The general belief was that those working in the theatre were dissolute and unruly. This is why most people were reluctant about allowing their daughters to marry theatre artists. Therefore, before granting permission for Narayan to join the Kirloskar Natak Mandali, his mother had set down a strict condition to the company: “You must accept full responsibility for this boy’s marriage. If this becomes an obstacle to his marriage, then I will not let him work in the theatre.”
Only after the managers’ and owners’ acceptance of this condition did Narayan join the drama company. The effort of finding a bride for him had been under way and continued even after he had become popular as Bal Gandharva. Narayan did earn a salary of a Rs 100 a month, but the entire Rajhans household was run on his earnings alone. Bal Gandharva’s father’s health had never improved, due to which he had retired and was without work. Additionally, in the early period, when Narayan was still a novice conducting himself with awkwardness, it was hard to foretell what lay in store for him in the uncertain world of theatre. Meanwhile, his mother’s patience was running out. Besides, those at the company were afraid that if they couldn’t keep their word about Narayan’s marriage, the fine star would possibly slip out of the company’s hands. Hence, they too were becoming impatient.
Owing to this situation, a dark-complexioned, ordinary girl of the Pargaonkar family was chosen, and in 1907, Narayan’s wedding was arranged in great haste– and he ended up tying the knot. All heaved a sigh of relief once the union was accomplished. Amusingly, Narayan’s mother had selected the bride for Narayan while he had not even been asked about his views! Narayan, as always, adjusted to the circumstances.
From 1906 till 1910, he travelled constantly for his performances, to Pune, Mumbai, Belgaum, Hubli, Solapur, Barshi, Kolhapur, Nagar, Nashik, Jalgaon, Akola, and other towns. The company continued to earn huge profits owing to him being a part of it. During this period, he was continually being shaped into Bal Gandharva while reaching the very summit of popularity.
Change in Public opinion on theatre companies
Those were the times when people tended to view theatre artistes and staff with contempt. However, due to Bal Gandharva’s lovable, winsome, sweet, and innocent personality, he charmed the public and the social standing of acting companies began to improve. Two young men, Gopalrao Bhonde and Parshuram alias Balasaheb Pandit who became part of Bal Gandharva’s close circle, played a prominent role in his life during this period.
Of these, Bhonde was employed in Military Accounts. He was coarse-looking but a skilled mimic. Balasaheb Pandit, on the other hand, was the son of the Mamledar of Kolhapur. Though a generous-hearted man by temperament, he was prone to addictions. He had no hesitation in spending any amount of money in order to indulge Bal Gandharva. Bal Gandharva himself was extravagant by nature. In this respect, he had taken after his parents. Due to this tendency, he was often short of money. During such occurrences, Pandit would rush to his aid. Despite finding himself short of money at times, Bal Gandharva considered this time as a golden period in his life. He was in a happy state of mind due to his rising salary and rising fame.
The acclaim he received in the Kirloskar company, his popularity among the youth, his hearty appetite for tasty food and for the finest, most up-to-date costumes — all were lavishly indulged. He was lost in his own popularity. He had had little taste for studies and therefore had not been educated much– and his reading was limited. Though he had tried, his reading had not improved. Once he slept at midnight, he would wake up only at ten in the morning. He took only as much trouble over a role as was necessary — but with full devotion. Beyond that, he did not put in any extra effort to make his singing more accomplished. Even so, apart from the plays, special musical gatherings of his singing were held in various places. But for these, he never took any separate fee.
After rising late, he would leisurely have his tea, betel leaf, and tobacco, and then attend to his morning ablutions. By then, it would be time for the lunch to be served. But since he did not bathe until half past one, he would have lunch which had gone cold at two and then go to rehearsal until five in the evening. If there was no rehearsal, he would take an afternoon nap. At six, after having tea again, he would go and sit among the people who had come to meet him. The town’s wealthy big shots, and young men studying in college, would be sitting waiting eagerly to meet him. This leisurely routine meant that he did not have the time for riyaz of classical music.
However, Bal Gandharva remained obedient to Joglekar and Mujumdar and never committed the impertinence of displeasing them. Even if he was offered a singing engagement, he would not agree to it without the permission of these two. Continuing with his daily routine, Bal Gandharva lived his life in happiness. He was a believer, but he never made a display of his faith. Because Joglekar’s nature too was affectionate and sociable, Bal Gandharva and others from the company lived as a family. Even if some unfamiliar person stayed a month or two in the company free of charge–eating and drinking and watching plays—it didn’t create an issue. And if anyone in the company fell ill, the others did not hesitate to nurse him that person affectionately.
Kakasaheb Khadilkar and the Kirloskar Natak Mandali
Krishnaji Prabhakar Khadilkar also known as Kakasabeb Khadilkar used to write excellent plays for a company called Maharashtra Natak Mandali. He wrote plays like Keechakvadh, Baykanche Band, Bhaubandki, Sawai Madhavravacha Mrityu, Kanchangadchi Mohana, one finer than the next. Additionally, he had also made his mark in politics. He was known as one of the foremost disciples of Lokmanya Tilak and was the Assistant Editor of Tilak’s Kesari newspaper.
In 1910, the theatre workers of Kirloskar Natak Mandali were at Pune. Shripad Krishna Kolhatkar had just written a new play and rehearsals were under way for this play called Premshodhan. Kolhatkar made a special request to Khadilkar that he give the rehearsals of the play their finishing touch and offer his valuable suggestions. Khadilkar, too, generously agreed. This temporarily formed connection grew more firm over time. Soon Khadilkar began writing plays for the Kirloskar Natak Mandali. The first play he wrote for this company was Manapaman which proved to be an unforgettable one in Bal Gandharva’s career.
Manapaman
Kakasaheb Khadilkar, on the one hand, was taking pains over the rehearsals of Premshodhan, while on the other, he was also writing Manapaman. As soon as Premshodhan was launched on the stage, the rehearsals of Manapaman began right away. The Kirloskar company had rented a bungalow where its staff were staying. Bal Gandharva and Dada Ladu had begun to live opposite this bungalow.
The rehearsals would be held from 9 to 12 in the morning and from 2.30 to 6 in the afternoon. Kakasaheb was a disciplinarian by nature. He would not tolerate the slightest lapse. He would sternly rebuke anyone who came late for rehearsal. Initially, Kakasaheb was displeased even with Bal Gandharva coming late. But once he heard him sing, his anger melted clean away. After that, even if Bal Gandharva did occasionally arrive late, Kakasaheb would not be angry. In Bal Gandharva’s absence, he would set aside Bal Gandharva’s part and begin rehearsing the others’ portions instead.
Govindrao Tembe
In the early days, Shripad Krishna Kolhatkar composed the tunes of the theatre-songs. At that time, the practice of the playwright first writing the lyrics and the actor then setting it to a melody—did not exist. The Kirloskars established a new convention whereby situations suitable for a song would first be selected within the play, after which a raga and melodies that were suitable were composed for the situation, and finally, the words that would fit in into the tune were written.
Khadilkar entrusted the responsibility for the theatre-songs of Manapaman to Govindrao Tembe. Govindrao was an excellent harmonium player and had laboured day and night dedicating himself to music. He had heard the finest of singing and had accompanied great artistes. He had in fact steeped himself into the art of music. Later, he would rise to fame as a music director as well. He began his journey with Manapaman.
In truth, the tunes in Shakuntal and Saubhadra had already won the people’s appreciation. Still, in the belief that the same songs over and over would jade the connoisseurs, it was decided that new melodies would be composed. Accordingly, beginning with Veertanay, different tunes were created. These tunes had seen great success in Parsi and Urdu plays. Though catchy and easy to hum, they nonetheless fell short in terms of the singer’s vocal art and in making the play more striking. It occurred to Govindrao that what singers like Maujuddin, Malka Jaan and Gauhar Jaan sang, had not yet taken root in Maharashtra, and that if such singing were drawn out through Bal Gandharva’s throat, it would surely become popular. He planned things to that end. He took on Dada Ladu on the tabla and Rajarambabu Purohit on the harmonium. For every character, he composed and assigned fine tunes for the theatre-songs.
Manapaman begins with a tragedy
The first show of Manapaman was scheduled for the March 12th, 1911, in Pune. The announcement had been made. The public had responded in overwhelming numbers. And suddenly, Bal Gandharva’s little daughter named Heera, became ill. No one had the slightest notion that her ailment would take such a grave turn. But her conditioned suddenly worsened, and on the night of March 11th, she bid farewell to this world. Bal Gandharva was then only twenty-three. On one hand, he had faced an extremely crushing blow. On the other, he had the responsibility of keeping the word given to the company by making the new play a success. One can only imagine what Bal Gandharva’s state of mind must have been.
For the company too, it was as though the sky had fallen. A thick shadow of grief settled over everyone. Each and every person grieved. Many had even begun to feel that the date of the play should be postponed. But that would have disappointed the audience who had bought tickets. Steeling his heart, Mujumdar took a hard decision. He brought Bal Gandharva with him into the company and announced, “Let us cancel today’s play.” On hearing this, all were stunned. But later the matter was settled and it was decided that the performance would go on as scheduled. That afternoon, none of the theatre members were able to eat. Every actor stepped onto the stage with a heavy heart. Bal Gandharva’s own entrance was at the very beginning of the play. He began slowly. But as the play went on, both his portrayal and his singing blossomed. The audience and everyone connected with the play were overjoyed. Bal Gandharva looked very beautiful too. He sang the song “Nahi mi bolat natha” — “I do not speak, my lord” with such an outpouring of his soul, that the audience was utterly steeped in its melody.
In truth, everyone had feared that, given his state of mind, Bal Gandharva might not be able to lose himself in the singing. But once he entered into the role, he ceased to be Bal Gandharva at all. For the whole duration he moved about as Bhamini and Bhamini alone. The play began to reign over the connoisseurs’ hearts. The crowds swelled so much that tickets became unobtainable. The usual experience was that, the moment a play reached its concluding benediction, the audience would begin to rise from their seats and leave. But Manapaman had a glory all its own. Until the entire benediction was over, the audience would not stir from their places. This whole play — its every character, its plot, its singing, its acting, and Bal Gandharva — all received nothing but garlands of praise.
The music of this play differed in genre compared to what was more typical to Kirloskars and Deval. This music, cast in the mold of khayal singing, was able to capture the people’s hearts. The mood of romance, in particular, blossomed here as never before. In fact, Khadilkar used to write prose plays and Manapaman was his very first musical play. That it should win such success despite this, left no doubt that his extraordinary literary skill was contained within it. Joglekar won recognition as an actor for the very first time. The comic role of Lakshmidhar proved the finest of all the comic roles thus far. As for Bal Gandharva, his career had, as it were, begun a steadily rising graph.
In Manapaman, there was more verse than prose. This change was new to Bal Gandharva. But with the help of Bhaskarbuva and Govindrao, he took whole-hearted instruction in how to make his singing richer and more substantial. As a result, his fame began to spread enormously as a singer-actor the equal of a Gandharva. The upshot was that, along with Marathi youths, Kannada and Gujarati youths too began thronging the theatre. Gramophone records of selected songs from this play also began to sell in great numbers. Earlier, the work of producing records of this kind for plays such as Saubhadra, Mooknayak and others had been done by a company called Beka.
Ownership dispute and its Settlement
On the day before the play Manapaman, Bal Gandharva had lost his precious daughter. And within a mere eight months of the play coming to the stage, Nanasaheb Joglekar passed away at the youthful age of just thirty-six. This was not merely a death; it was also a very great blow to Bal Gandharva’s artistic life.
Joglekar not only played the role of Dhairyadhar in Manapaman, but was also one of the owners of the company. By nature, Joglekar had been humble, gentle, amiable and large-hearted. It was because of him that the Kirloskar Natak Mandali had lived like one family. But with his demise, a dispute over ownership arose. The atmosphere became polluted. Although Ganpatrao Bodas was an older and experienced actor, he merely played the comic part. Whereas, Bal Gandharva had all the qualities that a theatre-company should have although he was younger.
Bhaskarbuva Bakhle had forged a deep bond with the Kirloskar drama company. He also had great experience relating to theatre. Therefore, people thought that he ought to take up this position. But since Bhaskarbuva was single-mindedly absorbed in his music, he flatly refused to take part in the glitter of running the stage. Meanwhile, Govindrao Tembe had started playing the role of Dhairyadhar in Manapaman, and his performance had met with approval. Therefore, given his talent and experience, it was decided to lay the leadership of the Kirloskar Natak Mandali upon his shoulders — and he accepted it. He was well-educated and had studied law in the Kolhapur princely state. He was not only a handsome actor, but also an excellent harmonium player, the very jewel of theatre music and was therefore considered suitable in every respect to become an owner. Therefore, the dispute over ownership rights came to an end, and things began to run smoothly.
Vidyaharan
The moment Tembe ascended to the owner’s post, Khadilkar began preparations for his new play. Rehearsals of the play Vidyaharan commenced. Although Govindrao had a role in composing some of the songs in Vidyaharan, it was chiefly Bal Gandharva himself who shouldered that responsibility. By listening to the records of Janakibai and Gauhar Jaan, Bal Gandharva had set the songs to be sung by Devayani. Bhaskarbuva had set some of the tunes, and he was conducting the rehearsals as well.
In this play, the tragedy of Shukracharya was just as important as the mood of romance. As a result, in this play prose, verse and music — every element alike — received special nourishment. The role of Devayani was different from the Bhamini that Bal Gandharva had portrayed. She was not merely pampered; she was experienced, radiant, and somewhat fierce and hot-tempered. From the standpoint of acting, Bal Gandharva had to rise to a new challenge, but thanks to Bhaskarbuva’s guidance, he carried it off ably.
On the 31st of May, 1913, the first performance of Vidyaharan took place at the Kirloskar Theatre in Pune. Khadilkar’s Manapaman had been such a triumph that the audience held great expectations for this new play as well. The theatre was therefore packed and overflowing. This play, too, met with an immediate response and began earning handsomely. Songs such as “Lagna hoina,” “Madhukar vanavan” and “Aata raag” delighted the people no end. Krishnarao Gore, an actor of slight build, looked very much in his element as Shukracharya, owing to his sharp eyes, his clear diction and his weighty voice. Bodas played the comic role, while Tembe played the hero. Bal Gandharva, for his part, dominated the whole stage. Connoisseurs maintain that such a pairing of Kacha and Devayani was never brought to life again.
Shankarrao Mujumdar’s Contribution
At the start of this play, Bal Gandharva was somewhat displeased. At the time of Manapaman he had been given fine brocade costumes, and he expected the same this time too. On this occasion Shankarrao Mujumdar brought new costumes for everyone in the play. But he had not brought especially costly garments for Bal Gandharva in particular.
Shankarrao was, in truth, a very weighty personality within the Kirloskar Natak Mandali. In the beginning, he had played the roles of Shakuntala and Rukmini. Later, in 1884, he left the company. Being well-educated, he spoke excellent English. He had also done some biographical writing. The biographies that he wrote of Annasaheb Kirloskar and of certain other actors are so substantial that a scholar of that period can put them to good use to understand history. After leaving Kirloskar, he worked at a newspaper. In 1893 he once again entered the Kirloskar Natak Mandali and took up the work of manager.
In course of time, he became an owner as well. He was well-educated and a man of imposing dignity. He had the mettle to bear great responsibility. He enjoyed social standing too. Therefore, he commanded respect in the company. But later, growing proud of this very fact, he came to regard himself as even superior to Deval. Setting aside this one issue, it is also a fact that he took immense pains to build the drama company and bring it to renown. He wanted it to become an ideal and leading company. The voices of the boys who acted in plays break at a certain age; then they can no longer stand as actors. Bearing this in mind, and so that their lives should not go to waste, Mujumdar set up a small printing press. He offered employment in this press to the boys who were no longer useful on the stage. But he did not merely print handbills at his press– he also brought out a monthly magazine named Rangabhoomi. Mujumdar played a large role in the first Drama Conference, held in 1905.
Ram Ganesh Gadkari
Mujumdar had appointed teachers for teaching young boys and Ram Ganesh Gadkari was one such teacher appointed in 1906. Bal Gandharva too had in fact started out in the drama company in the same year. Gadkari later wrote the play Garvanirvan, and its rehearsals had started. But for many reasons, this play could not make its mark upon the stage. The time for the Gadkari–Bal Gandharva alliance had not yet come evidently.
Gadkari regarded Shripad Krishna Kolhatkar as his guru, and Shankarrao too held Kolhatkar in high esteem. So, naturally, the two of them were in tune with each other. Shankarrao’s wish was that within the company there should always be an inflow and a fellowship of educated, respectable, gentle singers, and of the knowledgeable and the discerning. He strove constantly to that end. He was also keen to have acquaintances at the seat of government, so that the company’s business in the government offices would be carried through with ease — such was his expectation.
Annasaheb’s Memorial
The Kirloskar Theatre was regarded as a memorial to Annasaheb Kirloskar. This theatre was later converted into the Vasant Talkies. The idea that a theatre should be built in Kirloskar’s name, in his memory, was that of Majumdar. Therefore, in 1908, the construction work began. The building was undertaken in partnership with a moneylender named Martandrao Tapre and the Kirloskar Natak Mandali, and once it was complete, a performance of Shakuntal was staged there on August 12th 1909. Chhatrapati Shahu Maharaj and a great many other dignitaries were present at this performance.
Mujumdar’s heartfelt wish was indeed fulfilled; but because of his careless way with money, a problem arose. Everyone shared the belief that all the members of the Kirloskar Mandali held a collective ownership right in this memorial. As a result, in order to supply the company’s share of the capital, the actors of the company had to give five performances instead of three. Now that the entire stream of money was being diverted to the theatre, cuts had to be made in the company’s expenses. This meant even food and drink began to be neglected. Ever since Annasaheb’s day, everyone had received an annual holiday. That too was stopped, and they had to work all twelve months of the year. Salaries were no longer paid on time. The families began to suffer hardship. At first it had seemed the cost would come to Rs 25,000. But when the construction of the theatre was completed, it was realized that the expense had run to Rs 72,000. Now Martandrao became the company’s creditor. Because of the collective ownership right, the responsibility for repaying the debt fell upon the shoulders of every member of the company, and everyone became displeased. But even so, out of regard for Joglekar, everyone kept quiet.
Spendthrift Nature
This was a relief for Bal Gandharva who had become absorbed in his roles, singing, popularity, friends, and admirers ever since joining the drama company, and he found the practical aspects tedious. He was by nature a connoisseur and an artist and it was only natural that a practical and shrewd approach did not appeal to his sensitive heart. He had started out on a salary of Rs 75 a month but was now drawing a salary of Rs 200. That salary was enough in those times for him to be able to support his family. Bal Gandharva had no indulgences beyond tea and paan-tobacco, but since his admirers spent lavishly on him, he had become a spendthrift. He felt it essential to have fine clothes, several expensive caps, many different varieties of footwear. He also developed the habit of giving away his things to a friend or companion once they became old and buying new ones. If his expenditure exceeded his salary, his friend Balasaheb Pandit would extend a helping hand. Therefore, Bal Gandharva felt no need to economize.
Since Manapaman and Vidyaharan, the popularity of Bal Gandharva and that of his theatre-songs had grown so much that even the common man began to hum these songs. Photographs of Bhamini standing before a mirror, or of Devyani arranging her tresses neatly in the grove, could be seen everywhere. Buying a gramophone for the home and possessing Bal Gandharva’s recordings became a mark of prestige. People would crowd to see what the Bal Gandharva of the stage looked like in real life. For those who had never seen Bhaurao Kolhatkar’s female roles, Bal Gandharva was the sole artist! Remarkably, even those who had seen Bhaurao’s performance were delighted with Bal Gandharva. No wonder Bal Gandharva remained absorbed in his own artistry and his admirers rather than in practical affairs.
Despite this, the worldly troubles that began afflicting him in his 33rd year never let go of him until the very end. Legally, the company’s ownership right rested with Shankarrao Mujumdar. Lately, he had begun to behave in an arbitrary manner. Although Govindrao Tembe had been a well-wisher of Bal Gandharva, he had become displeased with him because Bal Gandharva had given up the ownership right at the last moment. Therefore, Bal Gandharva set the songs of Vidyaharan without his help. After some time, Khadilkar brought about a reconciliation between the two. Ever since it became clear that Tembe was on Bal Gandharva’s side, Mujumdar stopped trusting him. Also, since Ganpatrao Bodas wanted the ownership right, Mujumdar regarded him as a rival. On observing that Bal Gandharva acted according to the wishes of Khadilkar and Pandit, Mujumdar gave up trying to win them over as well. In such circumstances, with a view to running the company, Mujumdar set about the task of building up his own Board of Trustees.