Cinderella comes to stage again
For nearly five decades, Cinderella has continued to captivate audiences across generations, earning its place as the longest-running musical dance drama in Kannada theatre. Originally premiered in 1978, the production has been staged more than 1,000 times, blending fantasy, music, dance and theatrical spectacle. According to director Harish Prabhath, one reason the show has endured for so long is that it goes beyond fairy-tale magic. Excerpts from a chat:
“The main thing in the musical Cinderella is humanity. Even though Cinderella is ill-treated by her stepmother and stepsisters, she ultimately chooses forgiveness. That emotional core is what connects with audiences,” says Harish.
While the story may have originated in the West, the Kannada adaptation developed by the late theatre veteran TV Gopinathdas incorporates distinctly Indian elements. To make the production more relatable to Indian audiences, Gopinathdas introduced several original characters and storytelling devices.
“Alongside the familiar fairy-tale figures are characters such as Mantravadi, a magician, and Kodangi, fairy godmother. The production also features Drishti Devi and Shabda Devi – imaginative characters who can see and hear events happening elsewhere that symbolises the modern visual and audio media,” he shares. “My grandfather believed that if there is something good in the world, we should embrace it, regardless of where it comes from, which is why he chose to adapt,” says Harish.
‘Live theatre connects audience emotionally’
In an era dominated by doomscrolling and constant online presence, Harish believes live theatre offers something unique. “In films, if a scene doesn’t work, you can do a retake. But on stage, there are no retakes. Every performer has to be fully present from beginning to end. That immediacy creates a stronger emotional connection,” believes Harish.
“When audiences see the characters just a few feet away from them and watch the story unfold in real time, it becomes a very different experience. They become emotionally invested. Technical presentation is important, but what truly stays with people is the emotional connection,” he says.
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While the story may have originated in the West, the Kannada adaptation developed by the late theatre veteran TV Gopinathdas incorporates distinctly Indian elements. To make the production more relatable to Indian audiences, Gopinathdas introduced several original characters and storytelling devices.
“Alongside the familiar fairy-tale figures are characters such as Mantravadi, a magician, and Kodangi, fairy godmother. The production also features Drishti Devi and Shabda Devi – imaginative characters who can see and hear events happening elsewhere that symbolises the modern visual and audio media,” he shares. “My grandfather believed that if there is something good in the world, we should embrace it, regardless of where it comes from, which is why he chose to adapt,” says Harish.
‘Live theatre connects audience emotionally’
In an era dominated by doomscrolling and constant online presence, Harish believes live theatre offers something unique. “In films, if a scene doesn’t work, you can do a retake. But on stage, there are no retakes. Every performer has to be fully present from beginning to end. That immediacy creates a stronger emotional connection,” believes Harish.
Read the latest Entertainment News and Celebrity updates. Download the TOI App.
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