Epom Amadei Ithak - A theatrical revisit

Rajmani Ayekpam *

Epom Amadei Ithak :: Pix - TSE

Theatre lost its popularity in the present day context but it has occupied an integral part of the performing arts in different places of the world. In this fast changing entertainment world, theatre is lessening its appeal to new generation of audience.

However, theatre has survived since time immemorial and will continue to survive for many years wherever human civilization is there. Theatre was both in ritual and entertainment in ancient world.

In India, theatre or drama descended from the time of Vedic age. India is proud of having Natya Shastra. All the theatrical production or drama of India was based on Natya Shastra before modern theatre arrived in this country.

People of this country considered theatrical production or drama both as a ritual and entertainment. All the classical Sanskrit plays and regional dramas were based on Natya Shastra. So, theatre has been a part and parcel of Indian life style.

Many opined that Manipuri theatre descended from Lai Haraoba (ritual festival of Umang Lai (Forest God). There was some element of theatre in Lai Haraoba. When modern theatre or Parsi theatre arrived at Manipur, Manipuri theatre came out as a separate entity of entertainment leaving ritual practices. Then, Manipuri theatre adhered more and more to the modern theatre or western concept of theatre.

Meitei Pangal or Manipuri Muslim is one of the communities of the State who has contributed in field of art and culture other than the Meitei community. Pangal folk song is one significant contribution in the field of art and culture of Manipur. Theatre is another area of contribution in the field of art and culture by Meitei Pangal.

There are two significant dramatists from Meitei Pangal community i.e. Abdul Qadir popularly known as Gandhi and the other is Md Juma Khan. Now, Abdul Qadir has shifted base to Delhi. Now, he is Dean in the National School of Dram, New Delhi. Juma Khan has chosen his home soil as a his practice ground.

Juman Khan is a multi-faceted personality. He is actor, director, producer and audio artiste. Juma Khan honed his theatrical skill at NT theatre in his early theatrical journey. Now, has established his own theatre group known as Ascent Repertory Theatre in the year 2010.

Since then, he has 7 (seven) productions to his credit. ‘Ima Piyu’, ‘Ayekpa Lai’, ‘Venomous Women’, ‘Makoi Nungol Ching’, ‘A Far Cry’ and ‘Atopa Shangsar Amada’ etc. were his earlier productions. ‘Emom Amadei Ithak’ ‘Wave turning Tide’ is his last production.

The premier show of the play Epom Amadei Ithak (Wave turning Tide) was held on Saturday, the 25th of January, 2025 in the auditorium of Jawaharlal Nehru Manipur Dance Academy (JNMDA), Imphal. The play was produced under financial assistance of Cultural Function and Production Grant (CFPG), Ministry of Culture, Govt. of India, New Delhi.

Md Juma Khan is the director of the play while Niladhaja Khuman is the playwright.

The case and credits of play on stage were –
H Darbari (Chaoba),
N Kingson (Shri Gopal),
M Megharaj (Tadhal),
Th Usharani (Chanu) (Ibeni),

Chorus – S Malemnganbi, W Alina, W Heeyaileima,
RK Lindasana, Kh Maria, Ch Alpana,
K Devika, S Beronika, M Manao, Ch Meiteinganba,
G Tampha and O Oferika etc.

Off stage – M Megharaj & H Darabari (Set & Props), RK Lindasana,
Th Usharani (Chanu) (costumes), Th Sanjita (Make-up),
Naorem Manao (Light), L Tiken (Music),
H Amarjit & Ch Raj (Asst. Music),
Keshorechand (Camera still), Rameshwor (Video),
H Kingson (Production-in-charge) Aruna Leila (Production Manager).

The summary of the play centers around two ill-fated characters ie Ibeni and Chaoba. Ibeni always wanted to spend a luxurious life with big house, big car, jeep etc. Whereas her husband Chaoba like to lead a very simple life in a small house made of mud and straw. Chaoba always hate the narrow minded and entertaining world of city people, instead he prefer to live in a silent place far away from the noise.

Ibeni who use to live under the care of her husband now felt chaos of her life. She had nowhere to go. She felt a deep distress for husband loss not only she felt remorse of her husband loss as well as loss of her dream of a luxurious life.

So, she blamed herself again and again. She cried inside the tiny room where she does her business. A wrong step at an ignorant moment of life brought chaos in life and can never be brought back precious moment of her past life.

The flow of the play was so lyrical and full of visual poetry. Playwright Khuman tried to highlight the hard life of Ibeni and Chaoba in lyrical format not in full of agony and lamentation which are available in present day social plays.

Director Juma Khan intelligently presents the play in the medium of visual poetry. Using a group of nymph as a chorus at the outset and at the end of the play added some musical flavour to the play. It’s uncommon to add lyrical and musical flavour to a social play.

However, the justification to expel Chaoba from the village was not upto our satisfaction. Sometimes, it feels discrimination against the poor and weak people.

All the artistes in the play acted well whatever their character demanded. It’s worth to mention the performance of Darshan in the role of Chaoba and Usharani in the role of Ibeni acted nicely whatever characters demanded. One heart warming news was that four girls from Wangkhei Relief Camp participated in the play. It will give some relief to them for hard reality of life in the relief camp.

L Tiken Singh and H. Amarjit and Ch. Raj music was another area worth mentioning. Soft and haunting music added flavour to the play. M Megharaj and H Darshan’s set and props was also another area worth mentioning.

Naorem Manao’s light design was simple but meaningful. All the back stage artistes were at their best.

In the end, it is opined that Ascent Repertory Theatre’s new play Epom and Ithak was a theatrical revisit to social and cultural life of Manipur and it’s deserved to be seen.