Namel Weeramuni - Dramatist

Namel Weeramuni has gifted much to the contemporary theatre scene in Sri Lanka. No one in the know, will ever gainsay this.

All aspects of play production have received undiminished enrichment from his sustained theatrical effort. Above all, he brought to the local theatre, a steady and unswerving commitment and an unfluctuating loyalty.

With all that, Namal Weeramuni, still remains under-admired, under-appreciated, and under-recognised. He is not entirely un-sung though, because occasionally some significant voices are raised in due praise of his achievement. My friends Gunadasa Amarasekera and Wimal Dissanayaka (to name some) make generous pronouncements, at times, underlining Namal's crucial role in the fields of art and culture in Sri Lanka.

Namel Weeramuni

Of the younger group of communicators, Ranga Chandrarathne and Indeewara Thilakarathne - among a few others - never overlook the need to highlight Namal Weeramuni's outstanding performances. In the background provided by these instances, I should correct myself and say, that, Namel is not un-sung, but only under-sung. Currently, Namel Weeramuni has set theatre lovers astir, with his latest production. For nearly 40 years, Namel Weeramuni has been keenly fixated upon Jean Marie Lucien Anouilh - one may even say, to the point of obsession. This state of mind has been brought on, perhaps, by Namel's earnest and anxious quest for perfection. French dramatist Anouilh (1910-1987) may have inspired Namel, by his conscientious craftsmanship, he inherited from his tailor-father. Anouilh transferred this professional perfectionism, to the theatre.

Namel Weeramuni introduced his Sinhala version of Anouilh's "Mademoselle Colombe" for the first time to the Sinhala theatre under the title "Nattukkari". This was way back in 1970.

Nattukkari has gone through a whole series of incarnations since then, and has now approached a near faultless perfection. Anouilh was happy with an impersonal, colourless label - for his play But, Namel gave it a name, that has several layers of meaning.

On the surface, it means the "Woman Dancer". At a deeper level, it could mean "Show-off", "Exhibitionist" or even "coquette".

Jean Anouilh, the playwright Namel Weeramuni has opted to focus upon, is a classic performer in World Theatre, recognised as a Philosopher - Dramatist. His Characters generally inhabit a world, where "Idealism" is fragile, vulnerable and is eminently corruptible. There is hardly any man or woman, who is not touched by a sense of the romantic. but, "Idealism" in most instances, comes to grief when assaulted by harsh reality.

The indifference to Idealism, can at times breed a harsh cynicism.

Anouilh's characters, can be seem developing a form of stylized cynicism, which they tend to consider to be the most sophisticated attitude towards life.

Namel Weeramuni's "Nattukkari", pivots round the character of Miss Colombe. When the audience makes its acquaintance with her in the first instance. She is coy, unspoilt and is dominated by moral values.

Strangely enough, it is mademoselle Colombo, who changes most, as the play progresses.

The initial scene introduces her as a young wife, who is totally committed to the idea of clinging on to her husband, whatever vicissitudes of life may assail him.

A scene from Nattukkari

Colombe's young husband Julien, is an unabashed idealist. He believes explicitly in pare love. He is not at all interested in compromising his ideals.

His mother Madam Alexandra, possesses an over powering personality. Domineering all those around her as her way of life. She needs, all those around her to move about her, like planets orbiting their sun. In the role of Madam Alexandra Actress Malini Weeramuni's portrayal is hympotic. Many a young actress very well appreciated what dialogue delivery is, if they study her performance.

Namel Weeramuni's "Nattukkari", is complete drama. Each item and even the least segment, reinforces the performance.

The verbal inflections, the costuming, the make-up, the mannerisms, and the measured and well-timed responses of the players to each other, have all been assiduously choreographed.

What really matters, is the manner in which the unrealized absorption of the audience, in what is going on, on stage, is ensured. This is the remarkable outcome of relentless, professional training. The mastery over the significant detail would not have been possible at all, had it not been for the disciplined control over the totality of the production, by the director.

As we approach close to the end of the play, we are overwhelmed by the transformation of Colombe.

She is very much a part of the coterie of cynical realists, who do not see any reason whatsoever to change.

The Idealist Julian (portrayed with an appropriate projection of innocence, mixed with bewilderment) discovers that he is helplessly isolated in a world of matter-of-fact realists. His entrenched belief in fine love, is punctured sullenly by his mother - in common human sense, the fountain of all love.

Colombe, who professed such eternal love to Julien, new looks on him as an obsolete fossil, that has no functional value in her scheme of things.

Julian still clings on to the stage on which he met Colombe for the first time. His idealistic love, does not allow him to be realistic about the changes that have made Colombe spurn his world.

Surete (Daya Tennakoon) recounts anecdotally, the fickleness of women, quoting the infidelity of his own wife. But, Julien's attitude never changes.

The mother offers her money, the perpetual symbol of the practical world of realistic materialism. Namel Weeramuni, has lavished material, money, and above all his creative resources, upon this productions. The overall result is an eminently entertaining piece of theatre.

Namel has given an object lesson on play-production and the meticulous medication to the stage.

In a contemporary context, where play production is generally a messy affair, Namel sets up an ideal in disciplined presentation of drama.Once loyalty to the original work, is a factor, that is foremost, when one adopts material for the local theatre unless the adaptation springs from a deep empathy for the vision and the sustaining worth-view of the original playwright, the resulting adaptation will become only a surface presence.

Anonith categorized his plays into several classes. Some were characterized as Pieces Noires (black pieces).

To him certain others were 'rosy' or pink (pieces Roses). Though there is no knowing how he characterized Mademoiselle Colombo, I tend to believe he would rate it pink and slightly black.

It possesses an aristocratic inner being, though its leading character finds his Idealism, totally down-trodden.

Namel Weeramuni leads a life of drama. The play is one thing for him.

He has chosen give everything he has to the cause of theatre.

In sum, he is one of those incorrigible 'Idealists' of Jean Anonilh's.