How passion keeps artists going as Malayalam theatre gasps for breath

More than an hour remained before the first bell, but there was no frantic scurrying, no nervous rehearsals in hurried whispers. The green room, usually a storm of last-minute touch-ups and hushed pep talks, was surprisingly calm. The technicians moved about unhurriedly, setting the stage with the ease of old hands. The actors, seasoned in their roles, barely needed to glance at the script. They had lived these lines for years.

In the middle of it all sat 71-year-old KPAC Rajendran, a man who had breathed life into Paramu Pillai for nearly three decades. For him and his team, Ningalenne Communistakki wasn’t just a play—it was muscle memory, a rhythm embedded deep within. This wasn’t a performance born out of practice; it was second nature. And yet, each time they stepped onto the stage, it felt new. The weight of history, the relevance of the lines, the energy of the audience—it made the familiar thrilling once again.

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The Senate Hall of Kerala University stood poised, ready to host the Bharat Murali Memorial Annual Theatre Festival held annually in the name of film and theatre actor late Murali. And as the lights would soon dim and the curtain rise, the magic would unfold once more—not with the frantic energy of an opening night, but with the steady, assured brilliance of a team that had mastered its craft.

The audience base for plays has been dwindling over the years.

Ningalenne Communistakki (You Made Me a Communist), first staged in 1952, was the defining play of the Kerala People's Arts Club (KPAC), a theatre group that revolutionised political drama in Kerala. KPAC played a crucial role in popularising Leftist ideology through theatre, using compelling narratives to connect with the working class. The group’s productions, rich in social realism, became cultural milestones, shaping public discourse. Over the decades, KPAC remained a force in Malayalam theatre, adapting to changing times while staying true to its roots. With veterans like KPAC Rajendran carrying its legacy forward, KPAC continues to keep its revolutionary spirit alive.

"When I first joined KPAC in the 1970s, I had already performed with other troupes and built a decent reputation as an actor. But KPAC was different—it had its own unique culture, almost like a family. I started out working with the legendary team, including Comrade Bhasi. Now, I’m directing a new generation of actors in this play, originally designed by Thoppil Bhasi himself,” said Rajendran.

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"I began acting in a professional troupe at 16 in 1996, starting with KPAC before moving to other troupes and eventually returning. Earlier, I played the role of Sumam in this play, and now I've been entrusted with the character of Mala, which is a great honour for me. I took a break after my marriage, but now that my children are grown, I’ve resumed acting. The wages, working conditions, and welfare schemes at KPAC are good, allowing me to save for my daughter’s undergraduate nursing studies," says Athira KPAC, a 44-year-old woman actor.

KPAC’s history is woven with nostalgia, but its past glory does not seamlessly translate into the realities of Kerala’s professional theatre today. Ningalenne Communistakki was once a thunderous force, rallying workers and peasants, proving that theatre could be a tool for political change. KPAC thrived in an era when professional theatre commanded packed halls and traveling troupes carried stories of revolution to every corner of the state.

But the professional theatre realm in Kerala today is one of struggle. The golden age of full-time theatre artists sustaining themselves through the stage alone has largely faded. The rise of television, cinema, and digital media has shrunk theatre’s audience, forcing troupes to rely on government patronage, festival circuits, and the goodwill of nostalgia-driven spectators. Experimentation and fresh narratives flourish in pockets, but commercial viability remains a challenge. While KPAC still performs its classics, the ecosystem that once nurtured them has changed dramatically.

For today’s professional theatre artists, survival means adaptation—merging old forms with new storytelling techniques, embracing smaller, intimate performances over grand productions, and finding new ways to engage an audience distracted by faster, more immersive digital entertainment. The struggle is not just about relevance but about sustaining theatre as a profession.

"The history of Malayalam professional theatre has gone through several phases. I would describe it more as a touring theatre tradition rather than strictly professional theatre. In its early years, numerous troupes flourished, staging plays that were not only popular but also rich in content and purpose—often with strong political themes. However, by the late 1980s and 1990s, the quality began to decline, possibly due to the growing influence of shallow popular literature. At one point, there were hundreds of stages across the state, with over 300 troupes actively performing. But this boom eventually faded as other forms of entertainment, like mimicry and comedy skits, took over temple and church festival stages,” observes Karivelloor Murali, the chairman of Kerla Sangeeta Nataka Academy.

“The Supreme Court's ruling restricting use of microphone after 10 pm also contributed to the decline. However, there is now a resurgence in content quality. Currently, there are about 75 active professional troupes in Kerala, though many continue to struggle," Karivelloor Murali tells The Federal.

The evolution of Malayalam professional theatre

Malayalam professional theatre has a rich and dynamic history, evolving from musical dramas to socially engaged performances that shaped Kerala’s cultural and political landscape.

Malayalam professional theatre has a rich and dynamic history.

The journey began in 1903 with Sadarama, a musical drama by K.C. Keshava Pillai. Adapted from a Tamil play, it marked the beginning of a theatrical tradition that closely followed Victorian stage conventions. Early performances revolved around mythological and historical themes, drawing inspiration from Tamil ‘set’ theatre troupes. (Troupes that operate like a company with a stable group of members.)

A significant shift occurred in 1945 when Thikkurissi Sukumaran Nair introduced a new approach to theatre with Sthree, presenting a more professional and engaging storytelling style. This transformation encouraged greater focus on acting, stagecraft, and thematic depth, making theatre a serious artistic medium.

The golden age of Malayalam professional theatre began in the 1950s with the rise of KPAC. Founded in 1950 by a group of law students in Ernakulam, KPAC blended theatre with leftist political ideologies, producing plays that resonated with Kerala’s evolving socio-political consciousness. Their first production, Ente Makananu Sheri (1951), was followed by legendary works like Ningalenne Communistakki, Mooladhanam, and Puthiya Akasham Puthiya Bhoomi, many of which were later adapted into successful films.

The 1960s saw an expansion of professional theatre, with the emergence of new drama troupes such as Viswa Kerala Kalasamithi, Changanassery Geetha Arts Club, and Kalinga Theatres. K.T. Mohammed’s plays brought realism to the stage, particularly in Malabar. His works, including Kafir, Kadalppalam, and Soothradharan, reflected contemporary issues and introduced innovative theatrical techniques.

NN Pillai's Viswa Kerala Samithi infused satire and sharp social critique into productions like Kapalika, Cross Belt, and Eeshwaran Arrestil, appealing to both the masses and intellectuals. Meanwhile, Kalidasa Kalakendram, founded by O. Madhavan in 1960, became another significant force in professional theatre, with plays like Doctor and anthems such as Varika Gandharva Gayaka…, composed by G. Devarajan and penned by O.N.V. Kurup.

S.L. Puram Sadanandan brought fresh energy to the theatre scene through Surya Soma Theatre, staging popular productions like Kaattukuthira and Kaakka Ponn. Another major theatrical institution, Kalanilayam Drama Vision, was established in 1963 by Kalanilayam Krishnan Nair and Devakiyamma. Their debut production, Kurukshetra, written by Kavalam Narayana Panicker, showcased a distinctive style, departing from conventional theatrical formats.

Malayalam professional theatre has continuously evolved, blending artistic excellence with social consciousness. From its early days of musical storytelling to politically charged dramas and innovative stagecraft, it remains a powerful medium reflecting Kerala’s cultural journey.

Professional theatre troupes in Kerala face a range of challenges beyond just financial concerns. While a handful of mainstream artists manage to secure decent wages, many others struggle with inadequate pay and a lack of stable opportunities. Several troupes, especially those that are not widely recognised, are barely managing to sustain themselves due to declining audience interest and increasing production costs.

In addition to financial hardships, there are serious concerns regarding the treatment of artists, particularly women in the industry. Issues such as gender discrimination, lack of safety, and even incidents of sexual exploitation have been reported. The absence of robust support systems and regulatory frameworks leaves many vulnerable artists without recourse. These underlying struggles, which often go unnoticed, add to the complex realities faced by professional theatre troupes in the state.

The Federal spoke to several active artists working with different theatre troupes. While most were eager to discuss their performances and experiences, they were hesitant to openly acknowledge the hardships and real issues they face.

A few artists did express a willingness to talk about the challenges, including financial instability, unfair wages, and gender-related concerns. However, even they preferred to speak off the record, unwilling to be quoted.

A female artist who began her career in the late 1980s with a troupe in southern Kerala has dedicated her entire life to theatre. Having spent decades in the field, she now primarily plays mother roles. Despite her experience and commitment, she earns only a meagre ₹1,500 per performance.

"It was challenging to be a female theatre artist back then, especially in commercial productions. While I was not personally subjected to sexual harassment, I know many who were. There were instances where young women were coerced into sleeping with booking agents, particularly on the inaugural or preview night of a play—something that sparked protests among many artists, revealed a 60-year-old artist who had been in the industry for the last 40 years.

“The situation has improved now, and women have a stronger voice. However, the number of women entering commercial theatre remains low. Educated and dedicated theatre actors often choose alternative paths, such as amateur performances, television, or cinema. As a result, the female artists joining commercial theatre today tend to be comparatively less educated and less experienced in the craft,” she added.

In general, artists are better paid these days. Prominent performers earn around ₹6,000–₹7,000 per show, while regular actors receive approximately ₹3,000. Many theatre troupes, including KPAC, have introduced monthly payment schemes to provide financial stability for their artists. Some troupes have also implemented welfare funds and provident fund (PF)-like schemes, offering a degree of social security that was previously lacking in the industry.

“In the industry, wages typically range between ₹3,000 and ₹4,000 per performance, with women and lead male actors earning higher pay. While low wages are rare, some artists—particularly those in minor roles—may still receive less. However, the real concern is the decline in the number of performances. In the past, theatre seasons featured around 300 stages for a decent troupe, but today, even a play that manages to secure 150 stages is considered a super hit,” says Rajedran KPAC.

“The skyrocketing production costs are another major concern. On average, staging a play for a season requires around ₹10 lakh, and recovering this investment is becoming increasingly difficult. With fewer performances and limited financial returns, sustaining a theatre production has turned into a challenging endeavour for many troupes,” says Karivelloor Murali, the chairman of Kerala Sangeeta Nataka Academy.

“In KPAC, we are not a commercial troupe. While we do receive funds and provide proper allowances to artists who depend on it, our purpose goes beyond just financial sustenance,” says A. Shajahan, Secretary of KPAC.

“Many other troupes in Kerala operate differently from KPAC; they are entirely commercial, performing solely for their livelihood. Naturally, they are more concerned about the number of performances and the Supreme Court's 10 PM restriction. However, for us at KPAC, this is not a crisis—that’s the key difference. That said, we also believe the restriction is unfair.”

Another challenge faced by professional theatre troupes is the emergence of high-quality plays in the amateur circuit. This has impacted the booking of traditional commercial productions in fine arts programmes, which are typically ticketed shows held in auditoriums or closed-stage settings. As a result, securing slots in such events has become increasingly competitive, affecting the visibility and revenue of commercial theatre troupes.

“The quality and content of amateur theatre have been steadily improving. For instance, Madan Moksham by Marutham Theatres, Alappuzha, which won the Kerala Sangeetha Nataka Academy award for Best Amateur Play, is in high demand across the state. It is a powerful political play with strong mass appeal. While such productions may not necessarily fit into the framework of professional theatre, they are making a significant impact on audiences and the theatre landscape as a whole,” says Karivelloor Murali.

To revive commercial theatre, a comprehensive revamp is essential—this includes lifting restrictive policies like the 10 pm performance limit, improving the overall quality of productions, and securing greater support from the government. Without these measures, professional theatre risks losing its relevance and influence in Kerala’s rich cultural landscape.