Nat Samrat
Sharad Talwalkar
The subjects of the people during the reign of Emperor Ashoka are a topic of historical research. However, it is a proven fact that the audience of Nat Samrat during the era of Bal Gandharva was immensely satisfied. People from that era still get emotional when recounting that history. Since the audience is considered to be their providers, this emperor would stand on stage, devotedly dedicating himself to their service. In that joy, the audience would not even be aware of when the rooster crowed at dawn. Bal Gandharva and the audience became one with each other.
Reality Considerations
From the stance to the spectacle on stage, they paid extremely close attention to reality. In the play ‘Ekch Pyala’, I performed the role of Taliram alongside them for the first time when neither of us knew each other. At that time, I did not even have a name. But at the beginning of the play, they called me closer and said, “Look, in the third act, when I pull the mangalsutra from my neck, do not think about the fact that I am Bal Gandharva. Just remember that I am Sindhu and you are Taliram, and before pulling the mangalsutra, do not hesitate to put your hand on my shoulder. Because the next line is from Sudhakar, ‘You let a beast like Taliram touch your body,’ and if you do not touch me, there will be no meaning to that line.” At that time, there was no academy or camps. However, one can realize how meticulously reality was considered in the play.
That Mother
In Pune, Bal Gandharva would descend at the residence of lawyer Paranjape. They were recognized as Paranjape of Ram Mandir. While at their house, we recorded an interview-like session with Bal Gandharva. It lasted almost 2 to 3 hours. Our recording machine also overheated and stopped working after such a long time. Now that tape must be in the archives of All India Radio. Many of the songs were recorded because lawyer Paranjape had a keen interest in it. The interview involved me and Bhagwan Pandit posing questions. In between, Bal Gandharva recalled their mother and said, “Well, brother, whenever I returned home from a play, she would ward off my evil eye.” Even though their father disapproved of their acting in plays, it was their mother who gave her consent. Not just consent, but she encouraged them herself. At that time, going into plays was not considered a matter of honor. But the wisdom displayed by that mother over a hundred years ago would certainly befit the mother of a great personality.
Tirkhwa Arrived
Bal Gandharva would become one with his companions through melodies, but he was also mentally in tune with them. In this regard, in 1950, when I was staying at the house of the late Ganpatrao Bodas to learn the roles of ‘Phalgunarav’ and ‘Lakshmidhar’, he narrated an incident to me. Their tabla player, Tirkhwa Khan Saheb, was extremely temperamental. Once, there was some argument about money with the manager Bapurao Rajhans, and he left for Rampur. Because Tirkhwa Saheb was not accompanying on tabla, Bal Gandharva did not stage the play ‘Swayamwar’ for a month and a half. At that time, the company was stationed in Pune. ‘Swayamwar’ was a guaranteed play for substantial income. Finally, due to persistent requests from Ganpatrao Bodas and Master Krishnarao, Bal Gandharva reluctantly approved the staging of the play ‘Swayamwar’. Bal Gandharva was performing on stage with great displeasure. At the same time, Tirkhwa Saheb, who had just arrived at a brothel in Pune the previous day, was adjusting the tabla. The listeners had gathered there to hear him sing. One of them boldly asked him, “Khan Saheb, tonight Bal Gandharva’s ‘Swayamwar’ is happening, how come you are here?” Upon hearing this, Tirkhwa Saheb stood up and said to the woman, “My daughter, forgive me, I am leaving. If I do not play, how will Narayanrao sing?” Saying this, he took a Victoria and arrived at the Kirloskar Theatre. There, the tabla player who was setting up the tabla was told, “Hey, get lost, I will play today.” Saying this, he began to play tabla to the tune given by Keshavrao Kambali. When the sound of his tabla reached Narayanrao’s ears outside the theatre, he became elated. He called the manager Bapurao Rajhans and said, “Bapu, it seems Khan Saheb has arrived outside. Give him whatever money he needs, do not say no. Let me sing to my heart’s content today.” The play then began.
Bal Gandharva was so overjoyed at Tirkhwa’s arrival that he lingered on the line “Mama Atma Gamala Ha” for fifteen to twenty minutes; finally, Tirkhwa Saheb could not bear it. He recognized the joy Bal Gandharva felt upon his arrival and subtly told the actress Rukmini on stage, “Maalik, please go ahead.” Bal Gandharva was genuinely expressing the joy his soul experienced that day. They had become so one with Khan Saheb; this is what is called an artist.
In Ram’s Garden…
Bal Gandharva was tender-hearted. In this regard, a story shared by the late Ganpatrao Bodas is quite touching. The Bal Gandharva company was under the patronage of the wealthy Sayajirao Gaikwad. Therefore, for some months a year, the company would be stationed in Baroda. During such a stay, plays like ‘Saubhadr’, ‘Manapaman’, and ‘Mrichchhakatika’ were performed. The stay was coming to an end, and the company was set to go to Mumbai. Just then Sayajirao Gaikwad returned from England. For him, performances of ‘Saubhadr’ and ‘Manapaman’ were held. At that time, Sayajirao asked Ganpatrao Bodas, “Ganpatrao, which new play are you bringing?” To this, Ganpatrao responded that,Ram Ganesh Gadkari’s play has been fully staged with rehearsals and all. The scenery and costumes are also ready. The music for the play has been composed by Smt. Sundarabai. There is a thought of bringing ‘Ekch Pyala’ to the stage in Mumbai. To this, Sayajirao suggested that once ‘Ekch Pyala’ is ready, a performance should be held here for the court. Refusing the request of the wealthy Sayajirao was not possible. Moreover, a colorful rehearsal would also take place, and with the aim of gauging the audience’s response, Ganpatrao got permission from Bal Gandharva to stage ‘Ekch Pyala’ in Baroda. From the very beginning, the performance was vibrant. From the verse ‘Ajji Lage Hrudayi Hurhur’, Sayajirao was ringing the bell for “once more” for Bal Gandharva’s song. Three acts had passed. As the fourth act was not starting soon, a messenger was sent. Still, there was no sign of the act beginning. Finally, Sayajirao himself went inside and said, “Ganpatrao, start the fourth act. I have been impressed by this playwright’s writing. Why is the act not starting? Is there any problem?” To this, Ganpatrao showed Sayajirao the telegram about Gadkari’s passing and pointed to the corner where Bal Gandharva was sitting. Bal Gandharva was sobbing uncontrollably. In the end, Ganpatrao and Sayajirao consoled him and started the fourth act. The act was extremely captivating as Narayanrao himself was in a sad state in that act. While singing the line “Chandra Chavathi Cha. Ramachya G Bagemadhe Chafa Navticha”, Bal Gandharva was overwhelmed with emotion at the line “Ramachya G Bagemadhe”. This was indeed fitting because he had recently learned that ‘Ram’ was gone.
True Vaishnavism
Ganpatrao also shared a humorous story about Bal Gandharva’s friendly nature. Whenever someone mentioned coming to the play, he would say, “Come on, Bappa,” inviting many to the theater. Since the theater was full, this would often put the manager in a tough spot. The question of where to seat those invited by Bal Gandharva would arise. Finally, manager Bapurao Rajhans found a solution. He seated the arriving guests on the benches in the backstage area. He would respectfully ask their names and then proceed to the door leading to the stage, loudly announcing, “Hey Hari, tell Narayanrao that Deshpande has arrived.” While looking into the arrangements again, he would ask those gentlemen, “Has Hari not come yet?” If they said no, he would go back to the stage door and say, “Hey Pandu, tell Narayanrao that Deshpande, Shinole, and others have come.” He would shout many times using different names. By this time, the first act was halfway through. Finally, the guests would decide in their minds, “What is the point of watching a half-finished play, we will come back some other time,” and take their leave.
With the advent of Marathi cinema, the Marathi theater industry was impacted. Even the prestigious Gandharva theater troupe was not an exception. They had to cut back in every aspect. One day, after a performance, seeing the troupe members eating on the floor, tears were flowing from Bal Gandharva’s eyes. This master performer was truly a ‘Vaishnavjan’ at heart. He could feel the sorrow of the people.
Regarding the deteriorated state of this troupe, Mr. Ranjit Desai recounted an incident to me. Due to aging, Bal Gandharva had begun to play male roles. The troupe was stationed in Kolhapur. At that time, Chhatrapati Rajaram Maharaj was on the throne of the Kolhapur state. On that day, the troupe was performing ‘Mrichhakatika’ at the Keshavrao Bhosale theater. Rajaram Maharaj sent a message to Bal Gandharva that we, the people of the palace, are coming to watch the play. Mr. Ranjit Desai was then at Rajaram College and was staying in the palace with the Maharaj. He also went with the Maharaj to watch ‘Mrichhakatika’. The play began. Seeing the tattered curtains and the overall condition of the stage, Ranjit Desai felt disheartened. Later, Maitreya tells Charudatta, “Friend, a large piece of wall has fallen as if a person would write.” Charudatta becomes suspicious and tells Maitreya, “Hey, check if the courtesan’s jewelry is in good condition.” To this, Maitreya runs up and says, “I can’t see any jewelry.” Charudatta then says, “Alright. But Sharmilak did not leave Charudatta’s house empty-handed.” Saying this, he started singing the line “Jan Sāre Majala Mihla Ki.” While singing, he remembered his own financial situation with the meaning of the verse, and tears flowed from his eyes. He was absorbed in his singing. Rajaram Maharaj also became restless.
After the curtain fell, Rajaram Maharaj went inside and, bringing the child Gandharvas who were entering from the stage close, said, “Look, while I am here, you must not cry. Tell me what you want.” He called Dewanji close and gave the order, “Dewanji, give Narayan whatever he asks for tomorrow.” Such generosity and such harmony are now rare to see. Furthermore, he took extreme resolve to accept poverty for the sake of art.
In 1952, I was leaving for Mumbai by the morning mail for work at Pune University. I met the late Vinayakbua Patwardhan at Shivajinagar Station. I was standing there talking to him. Meanwhile, Narayanrao Gandharva, dressed in a white half pant, white half shirt, and a khadi cap, arrived at the station. The two of us greeted him. Holding our hands, Narayanrao said, “Today I have my song on Mumbai Radio. Can any of you get my ticket for Mumbai? After I receive the radio check, I will return your money.” Hearing this, I was overwhelmed. I was going to get the ticket myself. But Vinayakarau said, “Wait. I’ll get it.” He asked Narayanrao, “Should I get a first class ticket or a second class one?” To this, Narayanrao replied, “Why? I will sit in third class with you.” Vinayakbua got the ticket and brought it, and Narayanrao sat in the third-class compartment with us. The events of having to borrow money, having to sit in third class, etc., had no effect on his mind; he was cheerfully talking about what songs he would sing on the radio and reminiscing about earlier times. However, my thoughts were racing. Those who reserved special compartments for travelling with the company now had to travel in third class today. This is what fate is called. However, Gandharva was truly a yogi man. There seemed to be no effect of that on him.
Today, in business, I work alongside many modern actresses in hundreds of experiments of ‘single cup’ and ‘honor and respect.’ But my mind constantly tells me, “No, such a Gandharva will not be again.”