Kalumaali: Opening Pandora's box

Sep 19 2012.

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Ruwanthi de Chickera has truly opened Pandora’s Box in her new play, “Kalumaali-A Fairy Tale for Grownups”.  She has picked on the theme of Parenting, specifically Motherhood as practiced in Sri Lanka.

The play is imaginatively structured using the character of Kalumaali with different twists to her many tales, each reflecting the life experiences of the tale teller, from “Film Ac hchi” to “Gedera Achchi”to the male Stranger.

So why is it a Pandora’s Box?  In traditional societies like Sri Lanka, most women automatically become mothers and that’s when their lives change drastically.  Practically everyone has experienced an interaction with a mother and this colours their outlook when they in turn become mothers.
 
 
 
 
Motherhood is glorified in Sri Lanka with films like “Gedera Budun Amma”(The Mother as the Buddha at home) and practically every woman yearns to become a mother some day.  However, the reality of modern-day motherhood is a far cry from the fairy tale as the character of Dil in the play shows.
 
The mother in Sri Lanka is expected to subsume her personality to meet the many demands that Society expects of a mother.  The play depicted accurately the interaction with the School Principal who dismisses as “Irresponsible” the mother who arrives late for the appointment.  
 
 
 
 
There is humour as the mother in the park sets up a tent and juggles inside to wear a saree.  Why?  Because the Security Guard at the gate of her child’s school won’t allow her in unless she wears a saree.  Isn’t this part of the demure decorum expected of a traditional Mum?
 
The play highlights the reality of modern day Mums and Dil as a good actress shows the demands made by Society and family on a Mum.  Each time she strikes out for independence and says that her child too needs to become independent, her husband and mother-in-law come up with unarguable statements as to why she should protect her child.
 
This scene is cleverly brought out in the form of a breakfast conversation where the husband and mother-in-law uses statistics culled from the media, saying there is an increasing incidence of child rape and that school van drivers are often the culprits.
 
 
 
 
 Kaushalya Fernando as “Gedera Achchi”gave a fine portrayal of a woman who has sacrificed her individuality for the sake of mental peace by opting to be traditional.  She is determined to feed her grandchild for in the majority of homes, a child is fed and is expected to be contented.
 
However, the play also does not demonise men and Kalana, played by Peter d’Almeida, is suitably baffled by his wife’s sudden departure but means well as he tells his daughter, in between combing her hair and making her school sandwiches, that he is used to “Strong women”.
 
 
 
 
The roles of men and women inside the home are questioned in this play.  The play concentrates on the role of a mother with only one aside as a complaint against the husband who leaves wet underwear lying around!
 
The play ends with a comment which could be construed as “sexist” for if Kalumaali was a boy, life would be different, according to the male stranger competently acted out by Gihan de Chickera.
 
The play throws up a true Pandora’s Box of questions and problems as to the kind of Parenting required for the modern world and the sad reality of the Modern Mum who is caught up in circumstances beyond her control simply because she gave birth.
 
 
 
“Daily Mirror Life” spoke  to members of the audience and the reactions were mixed.
 
 
 
 
 
Roel Raymond said, “I’m a Mum so I found the play disturbing but in a good way.  There were a lot of truths which we try to ignore.  Ruwanthi has done an excellent job as always.”
Zainab Anverally said, “The play was very nice but I was disappointed that Iranganie was not there.”
 
 
 
 
 
Omari Pushpawela said, “It was excellent.  Spoke for the ladies.  More about women and it gave a story to each and every person.  It spoke about me and all of us as a Mum and a Housewife.  After fifteen years, I left my job and am now with my two children.”

 

 

 

By Sirohmi Gunesekera



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