Get a glimpse of our dances

The Weeramunis – Namel and Malini – are so dedicated to the task of promoting Sri Lankan art and culture that they are looking for fresh avenues all the time. It was so heartening to read that they have arranged for the students of the University of Performing Arts to conduct traditional dances every Thursday at the Namel Malini Punchi Theatre at Borella. They obviously believe in action rather than taking about doing something and leave it at that.

We boast about our culture but traditional dances are not something that one can see often. The Weeramunis’ venture will help to promote ‘cultural tourism’ where tourists visiting Sri Lanka now have a convenient way of watching local dancers performing in their colourful costumes. 

The duo has been involved in theatre for over half a century. Back in the Sarachchnmadra era I remember Namel in ‘Rattaran’ which Dr. Sarachchandra produced in 1958, two years after the epoch-making ‘Maname’. Then came ‘Elova Ginhin Melova Aava’ in the following year when Namel was again picked for a role.

From acting he went on to produce plays. The first was ‘Golu Birinda’ in 1960. His much-talked about ‘Nattukkari’ – a translation of French dramatist Jean Anouilh’s ‘Colombe’, went on the boards in 1970. It was revived three decades later.

Namel’s wife Malini has been a great strength to him supporting in his efforts. The talented actress has acted both on stage and screen. The couple were abroad for quite a while but neither of them forgot the theatre. When they returned in 2002 they had the thirst to do something for Sinhala drama. The Punchi Theatre in the heart of Borella was a dream come true. It has been introduced as “the culmination of a thespian couple’s mutual lifelong commitment and passion to help and foster the art of theatre in Sri Lanka”.

Looking back, Borella has long been the centre of theatre activity in the city. Right up to the late 1950s YMBA hall in Borella was the only venue to stage Sinhala dramas. Tower Hall by then had been turned into a cinema. I can’t remember any other place until the energetic head of the Sinhala Drama Panel of the Arts Council, H.D. Sugathapala, head-master of Royal Junior School picked the school hall at the Havelock Town Junior School to stage plays. 

The headmaster of the school was himself a drama enthusiast (it was Mr. Halpe, if I remember right) and soon the crowds were flocking there to see the best in theatre in the golden era of the 1960s. Once the school was upgraded to Lumbini Maha Vidyalaya, it became ‘Lumbini Rangahala’ which theatre lovers found to be a very convenient spot.

The Lionel Wendt Theatre was exclusively for the English theatre until Dr. Sarachchandra managed to get it for the initial shows of ‘Maname’. Somehow the Sinhala theatregoers found it rather strange to go there until a few years later when the Wendt doors were thrown open to Sinhala dramatists. 

Royal Primary at that time was the popular spot for drama rehearsals. In his enthusiasm to have a well-equipped hall for dramas, headmaster Sugathapala started work on the Nava Rangahala, a semi-open spacious hall in the school premises. Everybody interested in theatre lent a hand in the building operations with dramatists actively taking part in ‘shramadana’ activities. 

The Sunday Observer started a fund for well-wishers to participate. The response was quite encouraging. At the end of it, however, the dramatists did not find it as the ideal place for theatre and were shy to patronise the place.

The John de Silva Theatre behind the Art Gallery was built by the Ministry of Cultural Affairs and the Tower Hall Theatre was resurrected to stage dramas. With the Punchi Theatre catering to a smaller audience, the newcomers found an affordable place for their productions. 

Namel, Malini, a big ‘thank you’ to both of you for your continuing efforts!