He introduced compositions into Marathi plays that were from Parsi and Urdu theatrical style. Kolhatkar thought that Kirloskar’s old compositions were not favourable for extension and he composed a verse in Raag Malkans (a classical note), creating shock waves among the established norms in musical drama. The wit and parody in his plays was exceptionally brilliantly crafted. Their storylines were new and imaginative. A major characteristic of his plays was the variety evident in them. His plays seem to be heavily influenced by the works of Moliere. A new era began in Marathi drama and Sangeet Natak, initiated by Shripad Krishna Kolhatkar. Shripad Krishna Kolhatkar Kolhatkar was the most influential theatre figure in the post-Deval era. Deval is said to have laid the foundation and given impetus to further writing in the thought provoking and progressive social genre of playwriting. Even the verses from Kirloskar’s Shakuntal were written by him. They are said to be the golden treasury of Marathi musical drama.
MARATHI DRAMA SHOWS FULL
Deval’s compositions, full of meaning and melody, fascinated Marathi theatre audience and lingered long in the minds of music lovers. The compositions from his plays are popular even today. Govind Ballal Deval carried on the great tradition of Annasaheb Kirloskar’s Marathi theatre with the same success. Its story is full of simple but dramatic incidences. The play is very artistic and progressive in nature.
Being the first of its kind, Sangeet Sharda is rightly called the pioneer of social Marathi drama. On the forefront was Govind Ballal Deval with epic plays like Durga (1886), Vikramorvashiya (1889), Mruchhakatik (1889), Jhunjharrav (1890), Phalgunrav athva Tarbiricha Ghotala (1899) which was later converted into Sangeet Sanshaykallol, Shapsambhram (1893) and Sangeet Sharda (1899). The years between 18 were very productive in terms of the quality and the quantity of plays written for the Marathi stage, giving birth to excellent playwrights, directors and actors. The Marathi theatre movement in a way stabilized thanks to the creative brilliance and organizational excellence of these plays.
In the history of Marathi musical drama Annasaheb Kirloskar is regarded as the father of Marathi Sangeet Natak (musical drama). After the success of Shakuntal, Kirloskar wrote plays like Sangeet Saubhadra and Ramrajyavirog that enjoyed similar success. The tickets for the show were sold out even before the day of the show the auditorium called Anandodbhav in Pune where the play was presented on that day was jam packed with an eager audience. This revolutionary effort laid foundation to the formulation of what we today call Marathi drama. On 31st October 1880 in Pune, Kirloskar’s epic play Shakuntal was staged for the first time. After the 1880s, farcical plays were overshadowed by the glamour of Kirloskar’s musicals. When Marathi drama companies were busy doing entertainment of the Marathi drama lovers with mythological plays between 18, a new star called Annasaheb Kirloskar was born on the horizon of Marathi drama.
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