SIRUMARANI DRAMA REVIEW BY SAUGAT
Play: SIRUMARANI
Director: Somnath Khanal
Writer: Bhakta Raj Shrestha
Major Characters: Sima Gurung, Prakash Ghimire, Maotse Gurung, Bishnu Gautam, Onju Dahal
Is it a tale of unstable love and passionate lust? Or should we call it a historical fiction? The drama, SIRUMARANI by Sarubhakta, in my opinion displays capturing sentiments of greed, innocence, loyalty and regret focusing on the human snake daughter, Sirumarani(Sima Gurung), the sexually aroused Emperor(Prakash Ghimire), the poor Mache(Maotse Gurung), the obedient Yubraj(Bishnu Gautam) and the Dasi(Onju Dahal). Truly, in a fantasy genre, the play cleverly addresses many real life instances.
Being left by his wife, Siru’s father raises Siru all on his own. A prophet told him that Siru was destined for marriage to a mighty King. However, the foreteller was unspeakable about the consequences of Siru’s marital life as he sensed those fearful. Later, the story reveals the hidden dread in the diviner. In her teenage, Siru falls for a poor boy but leaves him and marries to the wealthy King. Further, she triggers the case in which the King and prince had swapped bodies. Spending five months to calm down the virility with the King, Sirumarani realizes that she requires the Prince’s body but not the King’s soul. Such claims by Sirumarani leads her and many others to tragedies.
Psychologies of different characters in varying moments had been excellently portrayed in the theatre. Initially, the “Naagin” marries the “Mache” just for the sake of her freedom whereas the “Mache” marries the “Naagin” as being attracted by her supreme beauty. In both cases, selfishness guides their decisions. Moreover, the ruthful behavior of Siru’s mother along with the true care of her father in raising her is also noticeable when the “Sarpini” leaves them. Being concerned about responsibilities, he had discarded his decision for suicide for the sake of his daughter. During her teenage, Siru tatters and shatters the love of poor and weak boy for the rich and powerful king due to her desire of being a queen. Sincerity of the prince towards his father is significant as he exchanges his youth with the father’s old age.
Similarly, the suppression upon the slaves and the depression on the rulers were easily visible. Once, Dasi told that their generation was born as slaves and would serve as slaves. She surely longed for freedom. King told the price, “Rajya sukhabhoj rw baiwahik sukhabhog sangai garna sakidainw”. In the Past, the kings fought for territory and would never get time for family.
Sirumarani told, “Biwaha rup rw Yauban Sanga huncha, mann rw pratistha sanga hoinw.” indicating body to be more valuable than prestige in a marriage. Realization by the king was seen on his lustful marriage when he knew that Siru only loved the Prince’s body.
In fact, the reason I deeply praise this theatrical piece is due to its intense emotions while it rings around truth. Additionally, I believe, viewers could get manipulated and stimulated by the comprehensive feelings and judgements of the characters. Honestly, the precise timing, impassioned music, praiseworthy dialogues and genuine expressions of the crew indicate the excellence of the act.
Though, some scenes could be difficult to follow, being well attentive would make it easier to understand. Nevertheless, I highly recommend SARUMARANI as a compact source of recreation. I challenge you to remain unmoved after watching the noteworthy drama.
Review by- Saugat Baral
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