Somalatha’s significance

Somalatha Subasinghe… The name is a near synonym for theatre, cinema and television in the performing arts realm. But her significance wasn’t a one-dimensional presence on stage and screen, rather it was her multi-facet personality that saw her excelling in writing, acting, singing, directing, producing and teaching.

Perhaps best remembered for her explosive performance, as Sara in Mudu Puththu, Gunasena Galappaththi’s adaptation of Garcia Lorca’s Yerma, she is however, particularly celebrated for her contribution to theatre. Specifically for revolutionizing Sri Lanka’s drama field, especially with her plays for the children and the youth, which earned her the unofficial title, pioneer of children’s theatre in Sri Lanka. Her death late last month, leaves a huge void that is never likely to be filled.

Born in Gampaha to a Sinhala Buddhist family on July 2, 1936, Somalatha was a bright student both at Musaeus and Buddhist Ladies College, Colombo. Given that both her parents were teachers, her bright school career was not unexpected. After successfully completing her Advance Level examination, she entered University of Peradeniya in 1958, and contrary to the career path she was to follow later, she read Sinhala, Economics and History for her degree.

However, her artistic leanings were very much in evidence, with her love for Art and such other aesthetic forms at the time she entered University. It is said she took part in stage plays in both schools, showcasing that theater was ingrained in her character.

Her first public appearance as an actress was in 1958 in Prof Ediriweera Sarathchandra’s experimental theater attempts ‘Raththarang’ and ‘Elowa Gihin Melowa Awa’. Although she was a fresher, she was honoured with the female lead role in both productions. It was literally a baptism for her as she was greeted by the audience with long unwavering hoots at the ‘Wala’ stadium in Peradeniya University.

There was no turning back after that. Being the best ‘Golaya’ (student) of veteran dramatist Prof Sarathchandra, Somalatha since then played a diverse range of characters on stage, on screen and on television, all with great aplomb and infinite ease.

Somalatha explored her performing talents under many acclaimed directors. The character ‘Sara’ she performed in ‘Mudu Puththu’ by Gunasena Galappaththi was one such explosive milestone in her theatrical history. Likewise she also made her mark in Sinhala cinema, securing many national awards.

Lionel’s Sontha

It was 1958 and Lionel Fernando was a second year senior student at mass hall, Peradeniya University. Somalatha entered the university in the same year and became resident at the James Peiris Hall. As Lionel was the President of the Peradeniya Sinhala Drama Society, the day auditions were held to select the two female lead roles for ‘Raththarang’ and ‘Elowa Gihin Melowa Awa’ became a day of destiny for both of them.

He says he remembers her wearing a most unassuming frock, flowers all faded and her hair tied in a ponytail with a dirty looking handkerchief. That was the hallmark of the character of the woman Lionel was going to marry someday….(And the marriage lasted for 53 years).

Thereafter Lionel and Sontha (as known to friends) met often at the drama rehearsals done by Dr. Sarathchandra, and in 1962 Lionel and Sontha tied the knot with the blessings of both of their parents.

“She was never for silver and gold, neither did she like Kanchipuram sarees. She was such a busy body, sometimes I have seen her wearing frocks inside out at our friend’s places. She cared less and I loved her more for it. She could be harsh, terrible like King Lear, yet I was quite taciturn. I had won the day. She had been excellent companion during my public service days.

When the floods took place in Dompe, Mathugama, she came with Kaushalya on the boat carrying things, coriander and even boxes of matches to the victims of the floods, and never complained. During my higher services of state in several countries, she played the perfect role of an erudite wife. I do remember when submitting my credentials, Queen Beatrix of the Netherlands wanted to know all about her theater experiences and she went to town on that. I was happy about my country and about my wife,” he says.

She also wrote and directed many stage plays, and won the Best Director and Best Translated Production awards for the stage play ‘Yadam’ and Best Director award for the play ‘Antegone’ by Sophoclese at State Drama Festivals.

Somalatha blazed the trail in theater by being one of the first female stage artistes of Sri Lanka. In recognition of her contribution to theatre, she was honoured with the title ‘Kalasuriya’ and subsequently ‘Kalakeerthi’ bestowed upon by former President Chandrika Banranaike Kumarathunga.

Veteran street-theater artiste, Gamini Haththotuwegama, once introduced Somalatha Subasinghe in one of his articles as, ‘the leading female versatilist in the theatre - actress, playwright, director and the theatre educationist - in the post-colonial theatre.’

Besides her contribution to Sinhala theater as an actress, play-write and as a director, her dedication to revolutionizing the children’s and youth theatre as an educationists was remarkable. Through her tenderness and substantial talents in the field of art, she understood the psyche of a child and gifted the children of the country with many beautiful creations that spoke to their deepest emotions.

Undoubtedly the Lanka Children’s and Youth Theater Foundation (LCYTF) or better known as Play House - Kotte is the best endowment by Somalatha Subasinghe to the children and youth of the country. The foundation was established in 1981. Continuously for the past few decades, Play House - Kotte has produced many internationally acclaimed theater productions.

‘Vikurthi’ was her maiden direction in Play House - Kotte, which is acclaimed as a landmark of the Sri Lankan modern theater. The story of ‘Vikurthi’ effectively conveyed the inadequacies of the existing education system, which has failed to bring out balanced human beings.

In all her plays, she projected a simple philosophy of life - the importance of being human and compassionate. All her plays such as ‘Hima Kumariya’, ‘Walas Paula’, ‘Punchi Apita Dan Therei’, ‘Thoppi Welenda’, ‘Elowa Gihin Melowa Awa’ and many more brought lots of insights into basic human qualities of a child.

Somalatha is survived by her husband Lionel Fernando, an expert civil servant and Sri Lanka’s ambassador to Malaysia, the Netherlands and France, and two daughters Kaushalya Fernando and Shyamalika Nanayakkara. She also left behind two grandsons and two grand daughters.

A daughter’s hero

Kaushalya Fernando, the elder daughter of Somalatha, followed in the same path as her mother’s. As she recalls her young days, she says she could embrace the divine world of art at a very young age by watching her mother. Although Somalatha wanted to inculcate in her daughter’s mind the virtues of art, Kaushalya never remembers her mother forcing her to do anything that she disliked.

“My mother never told me directly to follow her path, although the surroundings had tempted me to do so. After my mother started her own theatre group, watching rehearsals being done and mingling with artistes and scholars became part and parcel of our lives. Although I was her daughter and showed some talent in acting, I never had the privilege in acting in all her plays. It was quite tiring and challenging to deal with her when it came to professional matters. She was true and honest for what she believed and by living with her all my life really moulded me into what I am today.

My mother was very kind hearted person who helped people a lot. She loved seeing me and my sister associating with the less privileged people in the society. She always persuades us to live simply and help others. Besides being a legend in the field of art, she is a good human being with loads of love in her heart to share with people,” say Kaushalya.

Always loved

Shyamalika Nanayakkara, is the younger daughter of Somalatha. She remembers her mother as the most energetic, vibrant and iron lady that she ever came to know in her life. As she says Somalatha had such a big heart, always open for everybody.

Although Shymalika wanted to live a simple, stress-free life, unlike her mother and sister Kaushalya, she always admired the artistic endeavors they have been engaged throughout their lives.

Although her mother lived such a busy life as a committed and passionate writer and a theater practitioner, Shyamalika never remembered being isolated or neglected without mother’s love. “Although both out parents had extremely busy professional as well as social lives, we had a colourful childhood, a child could ever imagine. My mother was never selfish. She always had time, not only for us, for anyone. She lived her life devoting for others. She’s a good listener. She always had time to listen to others. I have never met a person who could be compassionate to people like her. She was a good human being.”

I am who I am because of Somalatha

Dr. Chandana Aluthge was Somalatha’s beloved student. He learnt his ABCs of theater and especially about children’s theater under Somalatha since early 1980s. As he recalls Somalatha had a unique idea about children’s theater. She never viewed children as miniature versions of men. Rather she always identified the child as a unique, independent entity.

As Dr. Chandana says, he’s forever thankful for Somalatha’s immense generosity and guidance not only in theater related work but in general. Today, he is the one who runs the show as a theater trainer for children at Play House – Kotte and is the beloved husband of Kaushalya Fernando.

“I am who I am today because of my Guru Somalatha Subasinghe. We had a very professional bond for ages although I am married to one of her daughters. She was such an influence in my life as well as many in the country. Her ideas were just amazing and quite unique. The most important thing that I learnt from her is the uniqueness of children’s theater. If you are a dramatist it doesn’t necessarily mean that you can make drama for children. Children’s theater is a different form of art and Somalatha had a good understanding about her subject. I am much fortunate to be her student and understand the philosophy behind the creative work for children,” he says.