Recently, the Thellipalay Mahajana College Old Boys’ Association presented a breathtaking theatre production in Sydney, titled ‘Silapathikaram’, based on the ancient Tamil literary classic. Over fifty young Tamil students from Bharathi Language School, Melbourne, took to the stage to bring this historic epic to life.
Silapathikaram – “The Tale of an Anklet” – is celebrated as the earliest Tamil epic, penned by the ascetic prince Ilango Adigal. It tells the poignant love story of Kovalan and Kannagi, a couple from the trading community, set against the backdrop of the early Chola kingdom in Southern India.
Mavai Nithyanandan, founder of Bharathi Language School Melbourne (established in 1994), with over 55 years of theatrical experience and three decades of academic excellence in Australia, invested his time, energy, and vision into this production. His passion for combining music and theatre in language education shone throughout the performance.
The programme, running approximately two and a half hours, was so well-received that encore performances followed almost immediately after the first show. Each scene was introduced with a narration detailing the setting and characters, including Kovalan, Kannagi, Madhavi, Kounthi Adigal, and the Pandya King. The performers employed the traditional Tamil dance-theatre style, Koothu, to narrate the story.
The backdrop, seamlessly shifting from Kaveripoompattinam to Madurai, from bustling markets to majestic palaces, was creatively enhanced through the use of Artificial Intelligence technology. This modern touch added depth without detracting from the traditional feel of the performance.
Playback singers matched the actors’ performances with remarkable precision, supported by a professionally managed orchestra. The Sound and Lighting team executed their roles flawlessly, providing a dynamic and immersive experience. Songs and dialogues were delivered in pure, unadulterated Tamil, demonstrating a profound literary elegance and natural flow. Stage props were simple, yet perfectly suited to each scene, allowing the focus to remain on the storytelling.
Special commendation must go to Mavai for his unwavering commitment to training the young performers, particularly emphasising the beauty of accurate Tamil pronunciation. Equal praise is due to dance choreographer and lead singer Bhagirathi Parthiban, who masterfully directed the Koothu performances and contributed greatly to the show’s success.
The immense labour of love and discipline behind this production was evident in every scene. The young performers’ untiring efforts and talent deserved constant applause. The production was a tapestry of multitasking, intricate choreography, and language mastery—an achievement that would normally take years to perfect.
This production was truly a dream realised for Mavai and his dedicated team. It showcased the immense potential of language schools in Australia to go beyond conventional teaching, embracing art, culture, and heritage with extraordinary success.
