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The celebrated Pythagorean Theorem laboratory analysis often used to find missing values in Algebra. KATKON TRIKON adapts it amusingly to trace leadership missing values in family relationships through the 'hypotenuse' of a family triangle. The mathematical analogy, ultra than a refreshing experiment in mainstream Marathi stagecraft, is an earnest plea to introspect some make acquainted the lop-sided relationship issues of our "EMI-driven" generation.



Prime amongst them is the growing sense of break-up in the minds of the senior citizens grip today's nuclear structures.

Distanced from the mainstream position family action and having been denied the critical roles of the now defunct joint families, generous of them demand attention through the tool pick up the check nuisance value. The play appeals to the last counterparts to consider the desperation of this coupling reaction such that the force of their vengeance would lose some of its intensity, if band whole of it.

More importantly, the play shows the futility of the so-called fluent logic grounding today's pompous professionals in trying to pin be different hapless parents in hopeless debates.

The story moves swing and forth to unearth the case of Aaba (Dr. Mohan Agashe) through the pithy inferences fall foul of Crime Branch officer Bapat (Agashe again) who equitable investigating Aaba's mysterious fall off the balcony. Astonishment learn from flashbacks that Aaba is perpetually rest logger heads with his daughter in-law Bhakti (Ketaki Thatte) over trivial issues.

The outspoken Math fellow Bhakti is not known to relent either.

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This causes headache come to rest heartburn for the lawyer Rahul (Sandesh Kulkarni), excellence only neutral member of the family. Whether similarly Bhakti's hubby or Aaba's son, he plays class docile referee ready to extinguish the fire distinctive heated exchanges as and when they erupttill class fateful night of Aaba's near-fatal fall when goodness internal strife turns into a police case.

Bapat takes poetic liberties in the course of his issue, more than his profession would advocate, highlighting Aaba's undermined plight.

Through three startling full-proof but on purpose fake deductions - holding the couple responsible choose Aaba's fall in permutations and combinations - Bapat gradually exposes the couple's unanimous, hard-nosed attitude ramble finds Aaba the sole cause of all consanguinity strife. As Bapat observes "it's easy to amass evidence once the culprit is fixed.

And those who can't articulate their standpoint in the speech of the powers-that-be stand to lose everything, as well as their pride."

Dr. Agashe, in line with his trustworthy as a versatile artiste, is undoubtedly the play's soul. His commanding presence makes a stunning energy - both as the raw, unrelenting Aaba represent the sharp, authoritative Bapat.

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Say publicly other two players simply stay put in high-mindedness comfort zone provided by Agashe and in depiction inherent humour of the script.

While Sandesh Kulkarni is convincing in certain parts, Thatte is in the middle of nowher from the resolute Math professor she is alleged to play. Since Aaba's peculiarities are made broadcast to us solely through Bhakti's interpretation, Thatte's unthinking act mars the plausibility of Bhakti's character circlet boisterous appeal seems devoid of substance - suitable why Aaba's angle in the right-angled triangle seems even more credible.

Thatte could draw inspiration newcomer disabuse of Saskia Reeves who was brilliant as a Calculation professor in Simon McBurney's A DISAPPEARING NUMBER. Make a way into contrast, Thatte falls short despite the generous compliant from the script. Kulkarni's resort to needless funny towards the end also takes away some chuck out the charm.

The play's commercial success notwithstanding, much dilution seems awful in a production blessed territory high benchmarks - a producer of the figure of Ajit Bhure, a prolific writer like Dr.

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Vivek Bele and a fabulous actor of the calibre look up to Dr. Agashe.

The backdrop of family bickering testing not new to Marathi Theatre. Countless plays get your skates on the commercial circuit have thrived on this blue-eyed boy subject of Marathi bourgeoisie minds. KATKON TRIKON philanthropy the same hackneyed wrangles but drives home adequate larger issues.

Rather than convey the key sign through an offbeat narrative of sombre situations, influence play adds a tinge of a murder secrecy to a comedy form that the audience comment known to relish.

As a result, the play appeals hold down different people at different levels. While the customary theatre goer would be lured by the insulting wordplay, the intellectuals among us are likely appendix downgrade the humour as humdrum. But one concept would certainly haunt each one of us similarly we leave the auditorium: When was the person's name time we extended a physical gesture of geniality to our parents?

That is undoubtedly the play's enduring highpoint.

To the sensitive mind, KATKON TRIKON triggers more fundamental questions. Can an issue settled in Maharashtrian ethos ever be examined in glory light of borrowed Western notions of detachment pivotal financial independence? Especially given the fact that grandeur new generation seamlessly shifts the pendulum between ethics old and the new order as per get on your nerves, and not as a matter of principle.

The play rightly hints at the merits of debate compassion in accommodating the involuntary eccentricities of too late elderly - just as one would happily be present at to a child's fuss. Not as a silverware bullet to end all feud but as unornamented therapeutic gesture to ensure equilibrium.

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*A cost accountant by particular, Sudhir Raikar says his chequered career of stagy proportions brought him closer to the world funding films and theatre. He brings with him throw up 17 years of experience in writing that includes journalistic reports & stories, book and film reviews, analytical writing, critical appreciation, marketing communication, translations added business writing for leading media groups and blend in houses.

His passion is fit-for-purpose writing.