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So, the people will not come”, and ends with the same as lamentation.

But there is the question of why, why have the audience lost interest in seeing “Prahalada Charitram” performed in the traditional form of theru-koothu, which was one of the staple forms of entertainment for centuries? Is it because simply they lost faith in such divine mythologies? Is the play only about faith?

Neither the play nor the playwright or the director probes further into the question, but immediately plunge into the traditional narrative, rendering it in a modern, up-to-date form-lightings, visual images, cinematic movements and frames, a little bit of social criticism, situations (a tea-shop chat)...

Probably, the implicit assumption is that, rendering the traditional modern would breathe life into the play and win back the audience.

Perhaps, one could arrive at the question, first by conceding the excellent use of the cinematic, by the director. The scene depicting Prahaladha’s birth and the final scene in which the death of Hiranyakasibu is conveyed (not enacted) are particularly good in images and movement...

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