Writing a regular stage play requires a unique kind of talent, but crafting a musical is an entirely different art form. Adding the elements of music, live performance, acting, and dialogue to create a cohesive production demands a special kind of genius.
In Sri Lanka, musical stage dramas have carved out a niche for themselves, blending cultural narratives with the universal appeal of music and performance. The English language theatre audience will be familiar with the staging of much-loved international productions such as ‘Fiddler on the Roof’ and ‘The Phantom of the Opera’. The musical is much loved in English theatre.
But what about Sinhala language theatre? For many, Sri Lankan musical stage drama might evoke classics such as ‘Sinhabahu,’ ‘Maname,’ or ‘Nari Bena’. While these masterpieces remain iconic, they represent only a fraction of the country’s theatrical heritage.
In recent years, Sinhala language stage musicals have undergone significant evolution, incorporating contemporary themes, innovative storytelling techniques, and diverse musical styles. This transformation reflects the changing tastes of audiences and the creative ambition of Sri Lankan playwrights and directors, pushing the boundaries of what local theatre can achieve.
The Sunday Morning Brunch reached out to some of Sinhala theatre’s most celebrated stage drama figures who are currently immersed in the world of musical productions. These industry veterans shared their invaluable insights into the evolution of musical theatre in Sri Lanka and the unique challenges and rewards of crafting a production that resonates with local audiences.
Creating a hit musical for the Sinhala-speaking theatregoer requires a deep understanding of the cultural fabric, combined with the ability to innovate within traditional and contemporary styles.
These experts highlighted how Sri Lanka’s rich storytelling heritage and vibrant music traditions provided a strong foundation for musicals, but noted how adapting these elements into a cohesive stage production demanded meticulous attention to detail. From balancing compelling scripts and music to ensuring the cultural and emotional relevance of each story, these theatre professionals revealed the intricate artistry behind creating productions that captivate audiences.
‘The script is supreme’
Award-winning theatre director, scriptwriter, and producer Nirosh Kavirathna emphasised the vital role of the script in crafting a successful musical. “What matters most is the demand of the script,” he explained. “Does your script ask for music? And if so, what type of music does it require to reach the audience most effectively?”
For Kavirathna, music in a musical should never be an afterthought but rather an integral part of the narrative, woven seamlessly into the story to enhance its emotional depth and resonance with the audience.
Reflecting on the roots of Sri Lankan musicals, Kavirathna noted that many productions stemmed from traditional forms such as shanthikarma, yak bera, nadagam, and sokari. However, he acknowledged that modern audiences often expected a fresh approach.
“The new generations do expect something a little different,” he observed, hinting at a shift from traditional styles to more contemporary interpretations.
In discussing his recent production, a remake of the classic stage drama ‘Sekkuwa’ originally created by Parakrama Niriella, Kavirathna shared how they had modernised the production to appeal to today’s audiences.
“Niriella used traditional music, but in our case, we have updated it. We have modernised it to try something experimental. The choreography is modern and the music too is contemporary. This change really reached the audience and I think it resonated with them,” he explained.
Kavirathna also spoke about his production ‘Bombayak Ithurui,’ with songs composed by Lahiru Madivila. This musical, he noted, was designed with modern audiences in mind. “Even when creating new musicals, you have to keep in mind the people who will come to watch it,” he said.
He emphasised the importance of understanding contemporary tastes, not just in the production itself but also in the way it is marketed. “We now have a new audience which is used to different styles and the marketing campaigns also need to be tailored to them.”
Ultimately, Kavirathna reiterated that the script remained paramount. “The script is supreme,” he affirmed. “If you’re doing a period piece, perhaps it may require traditional music, but 80% of modern theatre aligns with what the audience expects today.”
For Kavirathna, the success of a musical hinges on the seamless integration of its narrative, music, and presentation, all geared towards connecting with its intended audience.
‘Music communicates what words cannot’
Celebrated stage drama director, playwright, and teacher Jinidu Padma Sri Bandara has made a name for himself by creating musicals that resonate with contemporary audiences. His acclaimed production ‘Heena Aran Paare Hitan,’ featuring music by Thakahaniye (music director Shanaka Udara), stands as a testament to his innovative approach to modern theatre.
When asked about his philosophy on incorporating music into stage productions, Bandara explained: “The reason we use words in drama is that miming and facial expressions alone aren’t sufficient. However, when words themselves fall short, we add music. Music communicates what words cannot – it delivers a message more powerfully than words ever could.”
This sentiment highlights his dedication to ensuring that music is not merely an accessory but an indispensable element of storytelling, elevating the emotional and narrative depth of his musicals.
Bandara also spoke about the deep connection Sri Lankan audiences have with traditional musical forms such as kolam, sokari, and nadagam, as well as iconic performances such as ‘Maname’ with its signature drum beats by artists like Charles Silva Gunasinghe Gurunnanse or ‘Nari Bena’ by Dayananda Gunawardena.
“These traditional sounds are ingrained in our DNA. Even if you have lived abroad and never been exposed to them directly, when you hear these rhythms, they resonate with you. They have a way of reaching deep into your identity,” he noted.
While he values the significance of traditional music, Bandara stressed the importance of modernising stage productions to meet the demands of today’s audiences. “Traditional music is all well and good, but for new productions to reach and engage modern audiences, they need to be updated,” he said.
This belief is reflected in his approach to ‘Heena Aran Paare Hitan,’ where he has successfully balanced tradition with contemporary elements to create a production that feels both rooted and relevant.
For Bandara, the challenge lies in honouring Sri Lanka’s rich musical heritage while also ensuring that new generations find these productions relatable and enjoyable. His work serves as a bridge between the past and the present, offering a unique theatrical experience that speaks to audiences of all backgrounds.
The future of Lankan musical theatre
The evolution of musical stage dramas in Sri Lanka reflects a dynamic blend of tradition and innovation, driven by passionate creators who understand the power of storytelling through music.
Directors such as Bandara and Kavirathna emphasise that music in theatre is not just a decorative element but also a vital narrative tool, capable of conveying emotions and ideas beyond words.
As Sri Lanka’s theatre scene continues to embrace diverse styles and modern influences, musicals have the potential to reach wider audiences while retaining their cultural essence. The future of Sri Lankan musical theatre lies in the hands of those willing to experiment, adapt, and push boundaries, ensuring that the stage remains a space for vibrant, resonant, and unforgettable performances.