Sudraka’s Mricchakatikam, or The little clay cart, perhaps written during the Gupta period, is not a drama with contents and episodes from the great epics or about the deities of mythology. The story revolves around the lives of courtesans, thieves, stalkers, lusty royals, poor Brahmins, an incompetent king and so on.  Its main theme is love. In fact, it is a story about ordinary folks and rulers of the day. There is a coup in one of the subplots.

The language used is not always Sanskrit, spoken by the elites of the times. The people’s parlance is in the dialects of the commoners of the day. Though written in the hoary past, Mricchakatikam has similarities with the modern plays of the day. Written during ancient times, it is a Prakarana.

In Sudraka’s Mricchakatikam, the action-packed scene, somewhere in the beginning, sees a frightened fugitive making an escapade from the clutches of a person with villainous intent. The first episode taken from Kalidas’ Shakuntala is a Nataka - where elevated characters speak chaste and poetic Sanskrit - and the second episode taken from Mricchakatikam is a Prakarana - where common folks speak in the dialects of the people. 

Supported by Bhoomija Trust of Bangalore, Guru Venu, the founder of Natanakairali Irinjalakuda, held the world premiere of Mricchakatikam in Koodiyattam style at Ranga Shankara in Bangalore. The intent was to celebrate the twin milestones that mark 50 years of institutional history as well as the 80th birth year of its founder, guru G. Venu. It was the first time that a play was being conceptualised to be performed in Kutiyattam style on a topic which was not from the great Indian epics.

Waiting at the foyer to be led in to see and enjoy the great event came to a pleasant halt when a mizavu player along with a kurumkuzhal player commenced their very short musical soiree, creating an aesthetic ambience and preparing the rasikas to palate the flavour of the play. G. Venu explored the new thematic grounds while staying rooted in the traditional.

Well over four months before the premiere, the institution has buzzed with the presence of a number of established Koodiyattam artists from across Kerala coming together for the stage production of Mricchakatikam, under the leadership of Kutiyattam artist and Director of Natanakairali. Mricchakatikam is distinctly different from other Kutiyattam plays. Interestingly, the magical play centres around just common folks and not the usual royalty. Here, a clear democratic objective was presented through the story in which the rule of Palaka, an unjust king, is replaced with that of a capable commoner, Aryaka, a herdsman and a prince in exile.

The stage play carries a deep and significant sentiment of transforming a simple clay ‘cart’ into one of ‘gold’, and this idea is the spirit and inner meaning of the conceptual production. 

The comedy Mricchakatikam, consisting of many episodes, commenced with the benediction of lord Siva or Nataraja – the symbol of eternity. Mricchakatikam’s dramatic beginning is breathtaking. Behind a slightly raised traditional hand-held curtain, the audience could see a woman’s feet in a speedy running motion, a motion that displayed fear. Protagonist Vasantasena, the beautiful, rich and powerful courtesan, is being hunted by Samasthanaka, a powerful nobleman and brother-in-law of king Palaka, and the frightened runaway finds refuge in Charudutta’s house.

Vasantasena instantly experiences strong romantic attraction for Charudutta, whose benevolence and generosity have made him penniless. Their romantic relationship transcends social barriers and bridges the differences between individuals of different backgrounds.

Reflecting the complexities of human nature, society and relationships, it highlights social hierarchy and status, negative qualities of power and corruption, ethical behaviour, friendship, and loyalty, with justice and redemption found in the play’s climax, establish the triumph of good over evil.

The play offers a rich canvas of human experiences and their timelessness, which makes it as vibrant today as it was when it was written. Sudraka, the great literary figure of his time, has critiqued issues in Mricchakatikam that have proved the test of time.

It's a well-structured play with neatly strung plots where nobility and honesty, alongside their opposites, have made the play a great comedy. The ten-act play has been condensed to a less than three-hour drama in Kutiyattam without losing any of its flavour and dramatic elements and keeping intact the minor themes, which have helped to make the drama, a cohesive whole.  The characters of the play are evolved.  As Vasantasena Kapila portrayed her independent nature. She is a person who has a mind of her own and looks at her hero straight in the eye, unlike the classical heroines.

Humour is one of the devices used in the play which kept the audience glued till the end. Charudutta, the hero’s imminent execution for a crime which he had not committed was rather sombre, but the knowledge that it was a comedy was a kind of solace. The actors went by the strict rules of costumery that have come down from ages to maintain its sanctity.

Kapila Venu and Sooraj Nambiar were in the lead roles of Vasantasena and Charudatta. Artists Pothiyil Ranjith Chakyar and Margi Sajeev Narayanan Chakyar, Nepathya Sreehari Chakyar, Kalamandalam Jishnu Prathap, Shankar Venkateswan, Saritha Krishnakumar, Margi Anjana Sajeev, and Gurukulam Tharun were some of them who played more than one role. And ofcourse Aran Kapila, the child artist - the possessor of The little clay cart, which was turned golden by the jewels of Vasantasena – made his debut in the play. 

Mizhavu artists Kalamandalam Rajeev, Kalamandalam Hariharan, Kalamandalam Narayanan Nambiar, and Kalamandalam Vineesh created the bright aura, while Edakka player Kalanilayam Unnikrishnan provided the needed flavour. Gurukulam, with Athulya keeping perfect taalam. Make-up and costumes without Kalanaliyam Haridas and Kalamandalam Vyshak; the production could have been wellnigh impossible.

The scene of the gambler duo was hilarious, which brought much laughter. The importance of the scene was seen at the end of the play. One of the gambler duo had become a Buddhist monk as a measure of gratitude to his benefactress Vasantasena, who ultimately was instrumental in exonerating Charudutta for the supposed murder of Vasantasena.

Special mention may be made of the dramatic elephant scene in Vasantasena’s garden. A romping elephant causing chaos aroused the curiosity of the gambler-turned-Buddhist monk to rush out to see the fun, only to be stopped by the thought that he was now a holy person and he must practice restraint. This duality in the gambler provided entertainment, and hence there was a comic relief.

In the elephant episode of the play, one saw the chain of events that are connected to the whole play. There was much drama in the episode, and it showed the power and wealth of Vasantasena. The opera-like music played in this episode matched with the music in Vasantasena’s house. 

Bharatha Vakyam, the final benediction of the play, and the Mudiyakkitha ritual mark the culmination of a Kutiyattam play and carry deep spiritual and theatrical meanings. The right to perform this ritual was restricted to the male protagonist. However, considering the fact that Vasantasena was no run-of-the-mill personality. Guru Venu broke tradition and took the bold decision of making her do the Mudiyakkitha ritual. The moment was of historical importance.