Pioneers of Musical Drama

Annasaheb Kirloskar

Vishnudas Bhave laid the foundation stone of Marathi musical drama at Sangli in 1843 with his play 'Seeta Swayamvara'. The prologue in this play was an inspiration for the great dramatists of the future - they were Annasaheb Kirloskar, Govind Ballal Deol and Krishnaji Prabhakar Khadilkar. The prologue was addressed to the God Lord Gajanana praying him to give inspiration to write new poems and verses. However, Vishnudas Bhave didn't call it a prologue but verse as prayer. When Marathi drama companies were busy doing entertainment of the Marathi drama lovers with mythological plays between 1843 and 1855, a new star was born on the horizon of Marathi drama. Annasaheb Kirloskar was born on 31st March 1843 when Vishnudas Bhave had started playing 'Seeta Swayamvar'.

31st October 1880 Great Auspicious Incidence

All the three floors of Anandodbhav Theatre in Tambekar Wada, in front of Bhangya Maruti in Budhawar Peth were jam packed with drama lovers. Each and every character was full of inspiration and the screen was lifted.

With the first presentation of 'Sangeet Shakuntala' the era of Marathi musical drama started. In the history of Marathi musical drama Annasaheb Kirloskar is regarded as the father of Marathi Sangeet Nataka. He staged 'Soubhadra' an 18th Nov. 1882. Kirloskar became immortal in the history of Marathi drama because of his easy verses which became popular all over Maharshtra.

Shreepad Krishna Kolhatkar

A new session was started in Marathi drama and 'Natya Sangeeta' by Shreepad Krishna Kolhatkar. It is human nature to discard the old and embrace the new. This situation prevails in all fields of life. And Marathi drama was not exception to this. Drama lovers were bored by Kirloskar's 'Dindya' and 'Sakya'. A new search began. Kolhatkar thaught that Kirloskar's old compositions were not favourable for extension and he composed a verse in Raag Malkans, creating shock wave among the established norms in musical drama. He introduced compositions that were from Parsi and Urdu theatrical style.

Govind Ballal Deol

The great dramatist to carry on the great tradition of Annasaheb Kirloskar's Marathi theatre with the same success was Shri Govind Ballal Deol. By writing 'Sharada' and 'Mritschkatika', he proved that inheritance of Annasaheb Kirloskar. The compositions from these two plays are popular even today. Deol's compositions, full of meaning and melody, fascinated Marathi theatre audience and lingered long in the minds of music lovers. Popularity climax of Deol's compositions was so much so that an ancedote is repeatedly told that old ladies in those days were musing(chanting) his popular composition early in the morning while sprinkling water in front of their houses, "Kadhi Karisi Lagna Majhe"(when will you perform my wedding?). His compositions are a golden treasury of Marathi musical drama. Verses from Kirloskar's 'Shakuntala' are written by G. B. Deol. The composition 'Vedya Mana Talamalasi' has been immortalised by Balgandharva.

Krishnaji Prabhakar Khadilkar

K. P. Khadilkar's 'Maanaapamaan' has been a miraculous gift to Marathi musical theatre. Working hard continuously for six years in Kirloskar company along with Balgandharva resulted in the rise of Gandharva Natak Mandali. Balgandharva gave justice to the play 'Maanaapamaan' and created a new era in Marathi theatre. Khadilkar's another play 'Sangeet Vidyaharana' was not so popular, but then the next play 'Sangeet Swayamvar' started an era of Gandharva on Marathi stage. It excelled the earlier play in terms of music and melodious compositions.

Ram Ganesh Gadkari

Balgandharva's extraordinary acting and singing got a challenge by Gadkari's musical play 'Ekach Pyala'. The compositions in this play are by Vithal Sitaram Gurjar. Sundarabai composed the verses on the lines of Kawwali, Gazal, Dadra. 'Satya Vade Vachanala', 'Kashi Ya Tyaju Padalan' and 'Prabhu Aji Gamala'. These three compositions received maximum popularity. While singing these melodies BalGandharva became one with the emotions in the verse. Audience used to be in tears while watching his role of 'Sindhu'. There is no match for Bal Gandharva.