From page to performance…  

S.L. Bhyrappa’s well-known novel ‘Vamshavruksha’ was staged on the 13th and 14th of this month at RamaGovinda Rangamandira in Ramakrishnanagar, Mysuru. The Hindi version of the play by Pratibha Agarval was translated into Kannada by Sharada Venkata Subbiah and the play was a ‘Kalasuruchi’ presentation directed by P. Nagabhushan.  

‘Vamshavruksha’ remains one of Bhyrappa’s most celebrated novels and has been adapted for theatre on several occasions. The novel is not merely a family saga. It is a profound exploration of lineage, tradition, personal freedom, dharma and the eternal conflict between individual desire and social obligation.  

Theatrical adaptation therefore requires the dual responsibility of remaining faithful to the philosophical depth of the original while creating a dramatic experience. The production rose to this challenge with commendable sincerity and artistic conviction. 

The story of ‘Vamshavruksha’ begins with the character of Katyayani, whose journey from a young widow confined by social expectations to a woman asserting her individuality forms the emotional core of the narrative. The adaptation effectively captured her inner turmoil and the difficult choices that define her life. The stage presentation highlighted not only her personal struggles but also the larger questions Bhyrappa raises about identity, motherhood, inheritance and the meaning of tradition. 

The play preserved the nuanced perspective that makes Bhyrappa’s novel enduringly relevant. Neither tradition nor rebellion emerged as absolute truths. Instead, the audience were left to contemplate the costs and consequences of every choice. 

The portrayal of Srinivasa Shrotri (P. Dhananjay) proved particularly significant. As the moral and intellectual anchor of the narrative, he embodies a rare blend of scholarship, compassion and spiritual depth. His interactions with Katyayani and younger generation are impressive and leaves a deep impact on the audience. Through him, the play articulated Bhyrappa’s larger concern — if a civilisation can retain its roots while accommodating inevitable social change. 

The adaptation demonstrated considerable skill in condensing a sprawling literary work into a stage-worthy narrative. It is understandable that certain sub-plots and reflective passages had to be abbreviated inevitably but it cannot be forgotten that ‘Vamshavruksha’ is the story of two Brahmin families in South Indian towns of Mysore and Nanjangud after independence. Unfortunately the focus in the play was on only one family — that is Shrotri’s and the story of Prof. Sadashiva Rao was left out.  

Traditional costumes, period-appropriate settings and simple stage properties helped recreate the social milieu of post-independence Karnataka, allowing spectators to immerse themselves in the world Bhyrappa envisioned. The manner in which the play highlighted the symbolism of ‘family tree’ (Vanshavruksha) itself was noteworthy. The title does not merely refer to genealogy; it becomes a metaphor for continuity, memory and the invisible bonds that connect generations. The play repeatedly returns to this motif, reminding us that every individual decision reverberates through larger fabric of family and society. 

The staging of play respected the complexity of questions about widowhood, remarriage, parenthood, social duty and personal fulfilment, which make Bhyrappa’s novels unique.  

Dhananjay did justice to the role of Shrotri and seasoned artiste Deepa Ravishankar as Bhagirathamma won repeated appreciation from audience. Puttannaiah’s music was melodious and the songs selected were most apt. Aditi as Katyayani, Ullas as Raja Rao, Manjunath as Prof. Sadashiva Rao and young Amogh as Cheeni inherited their role with sincerity and naturalness. 

—Dr. Padmavathi Narasimhan