Mano Megha a research play written and directed by Sarathchandra Muthubanda was enacted at Namel Malini Punchi Theatre recently. As a constant spectator of classical and contemporary Sri Lankan stage dramas, I acknowledge Mano Megha to be an underrated masterpiece which deserves a greater support and appreciation from the current Sri Lankan audience. The successful synchronisation of the central theme, the Multiple Personality Disorder with the theatrical medium of political satire provides the viewer with deep insights to ponder upon, instead of tacky entertainment which is superfluous in Sri Lankan theatre today. In a nutshell, Mano Megha is a drama which imparts awareness to its audience through the right dose of entertainment.
In addition to the genuine effort taken by the director towards an artistic and accurate representation of mental health issues on theatre, the play deserves appreciation for the multitude of themes it brings forth during a brief run time; including the hypocrisy of politics and mass media, absence of justice and ensnaring of the general public by those who hold the reins of power. Although succumbing to the stereotypical character archetypes, the contrast between characters makes the play appealing and facilitates the spectator to comprehend multiple ideologies they represent.
The superior calibre of acting required in portraying the role of the protagonist, a capitalist political figure suffering from the Multiple Personality Disorder and possible anxiety is consummately delivered through the performance of Jayanath Bandara. The myriad of façades that Dasaraja, the protagonist exhibits in order to thrive in the political rat race make the audience speculate whether the Multiple Personality Disorder itself is being utilised as a symbol for the duality one is forced to embrace in order to survive in the politics. Supunchandra Dissanayake, who portrays a righteous alter ego, ‘Jekyll to the Hide of the protagonist’ who is later revealed as his own conscience ought to be recognised for his genuine attempt to deliver justice for the role as well.
Though the conclusion of the drama might appear vague and unsatisfactory to some viewers, the overall plot bestows a steady, kinetic storyline with an intense subtext. Averting from the exhausting plot twist trope of ‘revealing that some or all the characters to be segments of protagonist’s imagination’ which is over – done in cinema and theatre in portrayal of mental disorders provides a relieving breath of fresh air to the audience.
Despite a visible mediocrity in stage props, the rest of theatrical techniques including dialogues, choreography, music, sound effects, costumes, makeup and lighting could be endorsed as up to par. The diction, costumes and makeup compliments each individual character whereas music, sound effects and lighting were indispensable in a perspicuous delivery of themes. Borrowed aspects from traditional Sri Lankan folk theatre, including masks from the ritualistic Sanni Yakuma, allusions from Buddhist philosophy and Sinhala literature further upholds the identity of the play as an inherently Sri Lankan drama.
Despite the tenuous shortcomings, Mano Megha is a uniquely unparalleled piece of theatre with a novel flair which deserves the acknowledgement, admiration and support from the insightful theatre enthusiasts in Sri Lanka.
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