Mira - XV RadhaKrishna

RADHAKRISHNA

Haridas brings in Mira, into the circle of the gopis. Mira is now in a resplendent white dress with pearls.

Haridas: Mira, your presence here is like Krishna's flute song that comes upon the gentle breeze from the Yamuna. Brindavan is aflame with colour, filled with the sweetest bird song and aglow with joy. Your destiny has come. Our beloved Hari brought you here because your heart was yearning for him. I, too, am yearning for him but alas, is there anyone else whose love and yearning is greater and purer than yours...?

Mira: O Haridas, my breath and my life belong to him... I know no other life, no other way. I know I have him in my heart but I also know that there is more. I want to be in his heart... my body and soul in his heart... a sob catches in her throat. When will be that day?

Haridas: O Mira, I had a vision today of our beloved Krishna. While chanting his beautiful, bliss-giving name, our supreme lord blessed me with a revelation; that he has been waiting for you, his Radha incarnate, his supreme beloved. [Mira gazes at him.] He told me to bring you here to this garden of kadamba trees. [She is visibly excited about meeting Krishna at last.] And he said, "Perform the precious duty of the go-between, O gentle sakhi, bring us together, my beloved and I, as you have always done."

Mira: Lalitha! [Realizing her divine destiny. They embrace, overcome by the divine revelation given to them.] My loving friend... for ages you listened to my sighs, soothed the sorrow of my separation from my beloved, persuaded me of his love...

Haridas: O Radharani... too soon he took you unto him, too eager were you to melt into him. When you left us, spring was less colourful, love was not as sweet, and laughter was not as joyful. The eternal sages had been drinking deep from the divine ecstasy of RadhaKrishna; they awoke from bliss that lasted a thousand years, thirsting for more. Now you have come, and they are here... [Mira looks around her at the gopis.] Brindavan is Brindavan again. And your beloved is waiting. [Haridas touches her face and leaves. The seated gopis all face Mira standing in the center of their circle.]

Mira, softly: Mere to giridhara gopala, dusara na koi
Ja ke sira mora mukuta, mero pati soi
Mine is the mountain holder, no one else but he
With his peacock-feather crown, he's the husband for me
Mere to giridhara gopala, dusara na koi
Ja ke sira mora mukuta, mero pati soi

She sings this line several times to reveal the many layers of her love for Krishna, and reenacts their first meeting and falling in love with each other, their subsequent secret meetings, the joy of being together, their separation, her pining, her longing turning to despair, and their coming together again.

The rhythm of the song develops and she begins to dance. She is joined by the gopis who have been watching her with ecstasy. They all dance in a great swirl of joy and abandon until they come to a sudden stop - all fall down, delirious and happy. Then the song of Krishna's flute is heard. They listen to it with bated breath. Mira is filled with joy, expecting to see him any moment. She looks around, trying to determine the source of the music. Then it stops. Only silence. She waits, holding her breath.

She gets up, turns this way that way to see him coming to her. The silence seems eternal. Her senses surge out frantically for a glimpse, a touch, a whiff, a taste, and a sound of him. So intensely near and yet so excruciatingly far away. She begins to crumble, going mad in her mind that Krishna may not come to her, and sobs. Then, all of a sudden, the sound of ankle bells... and that sound is like the rumbling of thunder foretelling rain to the parched earth. Mira and the gopis look downstage left with great expectation.

The flute song comes again. Krishna enters downstage left, playing his flute, looking at Mira. His face is partially seen. He pauses, and allows the girls to look at him, to drink in his glorious form. He goes towards Mira. The rhythm of the drums reflects the beating of her heart. All of a sudden, she is shy, and covers her face. When Krishna reaches her, the moment of truth cannot be denied - she looks into his face and his eyes with inexpressible joy. The drums have increased in intensity.

All of a sudden, he stamps his foot, startling Mira, and then twirls her with a flourish. A new rhythm is begun, and Krishna dances his love dance with Mira. The speed of the dance increases with every line of the refrain. The gopis dance in ecstasy. They circle the divine couple. Krishna releases Mira from his embrace. The gopis gather around her and removes her white dress to reveal a sheer dark blue dress she wears underneath. Mira twirls with joy and she sings, her voice above the frenetic drum rhythms: "Mere to giridhara gopala, dusara na koi..." Krishna holds her again and they dance, so fast, as if they will be released from their bodies. The gopis raise their voices in exultation as they exit all sides. A huge piece of dark blue silk flutters down from above. It falls over Krishna and Mira and covers them. But then it falls flat on the ground - Krishna and Mira have disappeared. There is a short silence.

The flute, soft and low, is heard. The lights begin to dim. Slowly. In the auditorium, we can smell the fragrance of sandalwood. And then, we hear Mira's voice in the darkness: "Mere to giridhara gopala..."

[THE END]

Mira - XIV Rishis

RISHIS

In the kadamba woods, under the cloak of darkness, seven rishis are seated together, hardly visible. They are chanting "Om Narayanaaya". A soft blue light comes on behind them on the cyclo, and they are now seen in silhouette. They sing and then dance joyously, knowing that they will witness once again the divine experience of the cosmos.

Rishis: Hari narayana govinda shri
Jagan narayana govinda

Narayana govinda mukunda
Achyuta paramananda
Hari narayana govinda shri
Jagan narayana govinda

Venuvilola govinda hari narayana govinda
Vedanta sara govinda hari narayana govinda
Hari narayana govinda shri
Jagan narayana govinda

Hari narayana jaya narayana
Hari narayana bhaja narayana
Hari narayana hari narayana hari narayana hari hari om
Hari narayana hari narayana hari narayana hari hari om

As the rishis dance, they move separately towards the wings, and each one is replaced by two gopis. Knowing that Krishna will appear to claim his bride, Mira, they have transformed themselves into gopis, as before, so as to enjoy the supreme bliss-giving presence of the Divine Lover. With the transformation, the song is sung by the gopis. At the end of the song, the gopis sit in a circle centrestage... and wait. We hear a flute soft and slow, and the light begins to change...

Mira - XIII Brindavan

BRINDAVAN

Birdsong as the scene opens to reveal the idyllic lush landscape of Brindavan. In the distance, we can see scattered, as well as clustered, thatch roof huts. Furthest upstage left, protruding from the wings and jutting a quarter way onto stage, is a life-sized hut. Upstage right, under a shady tree, some mats on the ground, and a few other articles indicating the use of this space for satsangh. We see a few hermits, all men, going about their daily chores of collecting firewood, fruits and leaves, water from the river, etc. This is the holy man Haridas' ashram. Enter downstage right, Haridas followed by a few of his disciples. Their hair still wet, they have just returned from their ritual bath in the Yamuna, and they are singing with joy the praises of Krishna. The song they sing is the same as that of the cowherds in Mira's dream - Bhaje Radhe Govinda - but their style and manner are different. While the cowherds' song is full of rustic joy, Haridas and his disciples sing it with a recognizable "bhajan" style.

Haridas, and his disciples: Bhaje Radhe Govinda
Gopala tera pyara nama hai
Nandalala tera pyara nama hai
Mora mukuta maate tilaka gale vaijayanti mala
Prabhu gale vaijayanti mala
Koi kahe vasudevaki nandana koi kahe nanda lala
Prabhu koi kahe nanda lala

The group finishes the last few lines of the song under the tree and they all sit for their daily satsangh. Haridas sits, with his back to the tree, while the rest sit round, facing him. As they finish the song, one of the disciples near him pours him a drink from an earthen pot. He drinks, and then begins his talk.

Haridas: Govinda Krishna is love. He is love supreme. Love hidden and manifest; hidden in the hearts of men, manifest as the ocean of humanity, and infinite as the universe. Why, "love" is His name! For when we utter the name "Gopala", we immediately see and feel within us the constantly flowing divine love He has for us, His cows. For He is the divine cowherd, tending His cows with love and joy, keeping us close to him, and guiding us to the lush field of plenty. [Pause.] The Lord Supreme came to us in the form of Nandalala Gopala to show us that His divine manifestations can be in the simplest and humblest of circumstances, infusing the earth with joy and colour. In the form of Krishna, cousin to the Pandavas, He transcends the pomp and power of the greatest kings - though He oftentimes hides His hand, and his face, to delude us. This is His game, His leela. It is when we choose to open our hearts to Him, to surrender to His divine will that He reveals the truth: it is His love, love supreme, which upholds and transcends all creation. It is when we come to His holy feet, and sing His praises with faith and devotion, that we can contemplate on His beautiful, loving form of Nandalala, with his peacock feather crown, his garland of fragrant flowers, and his sweet... sweet smile... [Even as he says this, he is filled with the glorious vision of Gopal. He closes his eyes and a beatific smile is on his face. He gently sways, drinking in the nectarine vision... and then,]

Haridas: Ananda krishnan paramananda krishnan
Ananda nandana gopi gopala krishnan
Brindavanathil andru kuzhal oothinaan
En ullathil indru inba geetham paadinaan
Andrum indrum endrum avan ananda krishnan
Ananda nandana gopi gopala krishnan...

We are all gopis drinking the ambrosia from the look of love in his eyes.

The disciples are visibly moved by this revelation from their guru. Offstage, we hear Mira's voice - she is singing with joy. Haridas and his disciples are a little surprised, and curious.

Mira, offstage: Ananda sagara muralidhara
Mira prana radhe shyama venugopala
Ananda sagara muralidhara
Mira prana radhe shyama venugopala... [she enters on this last line of her song.]

A few disciples get up to see who has come. They are a little curious upon seeing the travel-worn Mira. Though they are polite they appear a little uneasy as it is not their guru's practice to admit female devotees or visitors. They form a sort of screen, centrestage, so that Mira will not be able to see their guru seated under the tree.

Disciple#1: Welcome, welcome, ma...

Mira: I have finally come to the holy and auspicious ashram of Saint Haridas. To be here in Brindavan is to be drinking from the fountain of Hari's grace. O, how wonderful to be here and how blessed all of you are!

Disciple#2: Pray, let us give you the necessary welcome, and offer you refreshments...

Mira: Mira has come a long way, across the desert, to quench her thirst for the love of Shyama venugopala. I know my Krishna is near... because the holy saint Haridas is here. I must see him... I want to tell him how Krishna has led me out of the materialistic mundane life of the court and brought me here to this joyous, radiant Brindavan. Bring me to your guru... looking at his holy face will be refreshment for me.

Disciple#1, hesitating: You appear to us a most saintly person yourself, ma, but you must forgive us for denying your request... Our guru does not receive female visitors...

Mira: Tell him I am devoted to Krishna...

Disciple#1, apologetic: He does not receive... female... devotees or guests. Mira is surprised to hear this. Please forgive us, ma.

Mira: Strange. Surely, in Brindavan, where Krishna reigns supreme as the Divine Lord and Lover, there is no other man but him... and we are all his gopis in his divine ras lila. Surely, in such close proximity here with my loving Krishna, we are all female, yearning for the Cosmic Beloved. Could it be that when the holy one is drinking from the fountain of bliss, he is still concerned with his body and his gender? And yet, having tasted of Krishna's love, continues to believe in the reality of the body...?

Even as she speaks, Haridas realizes the truth of her words and his error. He comes forward...

Haridas: O holy mother, the divine truth of your words has shattered the falseness of my ego. Please forgive me... my Krishna has blessed me by bringing you here. He humbly bows to her, tears on his face. This is a blessed, blessed day...

Mira, wiping his tears: In love with Krishna, loving Krishna... [They gaze into each other's eyes, recognizing and reflecting the depth of feeling within each other. They hug each other and laugh joyously.]

The disciples watch in puzzlement but then are also filled with the spontaneous joy emanating from the two saints. As the light fades, they sing "Bhaje Radhe Govinda".

Mira - XII Night

NIGHT

Nightfall. On the banks of the Yamuna river. A rock under a tree. Mira is seen gathering flowers, buds and blossoms, and laying them carefully over a layer of huge leaves and ferns on the ground by the rock. When this is ready, she looks out at the audience and comes forward smiling, as if she can see Krishna coming to her. Happily she runs back to her "bower" and picks up a garland she had made. She comes forward again, a little shyly and yet yearningly, to her invisible Krishna who stands before her. She looks into his eyes and puts the garland over his head, and then, as if he is taking it off, she puts it on herself. She is the blushing bride, and she closes her eyes as she turns her face slightly to the audience, as if she is receiving a kiss from Krishna. She smiles at him.

Mira: Come to my bower, O my lord. Come to my fragrant bower of buds and blossoms and claim me as your bride. I have been slave to your love for so many births. You are everything to me. Mira's lord is Hari, the indestructible. Come, come to me. She sings.

You came to me once
Come to me again
You held me in your arms
Hold me once again
Come, my secret lover
Speak to me again
Now, I'm yours forever
Love me till the end

You gave your love to me
Set my soul flying free
Mira tasted love supreme
Or was that just a dream?

Alone, she dances, expressing the innermost feelings of her being. We see a soul enjoying the sense of freedom and joy that comes with knowing the deepest purest love. And yet, she knows that she must see the Krishna enshrined in her heart, for her very being longs for his touch.

You gave your love to me
Set my soul flying free
Mira tasted love supreme
Or was that just a dream?

Krishna!

She looks about desperately, tears running down her cheeks. She runs to her bower and falls onto her bed of flowers, sobbing.

Mira - XI Mathura

MATHURA

A busy street in Mathura; townspeople, country folk, vendors, passersby, gopis selling milk, children running around - all brushing shoulders and avoiding near misses here and there. It is noisy. Mira enters, excited that she is finally where Krishna is! She is jostled here and there. The crowd thins out momentarily. Mira stops a man.

Mira: Good sir, have you seen Krishna?

Man, looking her up and down: Which one? [She hesitates. He grimaces and hurries away.]

There is a flux of people and Mira is jostled once again here and there. The crowd thins out and she finds herself in another part of the city. She stops a gopi carrying a pot.

Mira: Miss... miss. Do you know where Krishna is?

Gopi, insolently: I don't know any Krishna.

Mira, catching a man by his arm: Sir, please tell me where I can find Krishna.

Man, grinning: I am Krishna.

Mira shakes her head looking at him. The crowd rushes by. The man merges with the crowd. She is in the center, desperate, the crowd jostling her from all directions. She reaches out to everyone passing her.

Mira: I'm looking for Krishna... I'm looking for Krishna... Krishna is here, isn't he? Where is Krishna? [But people are too busy to notice and they think she is mad. Soon a small crowd gathers around her, watching her. A young boy and his friends come up to her cheekily.]

Boy: You're looking for Krishna? [She sees him.] I'm Krishna. [He strikes a pose and smiles at her.]

Mira, a flash of joy on her face: Krishna!

Boy, almost hysterically: Ha ha ha! [His friends join him laughing loudly, pointing their fingers at her.] She's a mad woman... ha ha ha!

They run off through the crowd. The small crowd laughs at her. She is in tears. Another stream of passersby swirls around her. She covers her face with her hands. A cowherd peers into her face and stands behind her. He begins to play a flute. Somebody begins to strike a rhythm, and gradually, people are beginning to move to this rhythm even as they are circling Mira. Mira lets her hands fall to her sides, her face with tears but her eyes closed.

What follows next is the entire Mathura folk singing and dancing like Krishna to the song Madhuraashtakam around her.

Folk: Adharam madhuram vadanam madhuram
Nayanam madhuram hasitam madhuram
Hridayam madhuram gamanam madhuram
Madhuraadhipaterakhilam madhuram

Vachanam madhuram charitam madhuram
Vasanam madhuram valitam madhuram
Chalitam madhuram bhramitam madhuram
Madhuraadhipaterakhilam madhuram

Venuradhuro renurmadhurah
Panirmadhurah paadau madhurau
Nrityam madhuram sakhyam madhuram
Madhuraadhipaterakhilam madhuram
Geetam madhuram peetam madhuram
Muktam madhuram suptam madhuram
Rupam madhuram tilakam madhuram
Madhuraadhipaterakhilam madhuram

Her eyes are closed throughout. Slowly she comes down to her knees, and then she sits. Her despair begins to give way to joy as she listens to the song. She raises her hands in joy as the song ends. The Mathura folk break out of their Krishna consciousness and once again move about as before, as if nothing had happened. The cowherd who started with the flute brushes against Mira, and she opens her eyes. He walks downstage towards the wings. She quickly gets up, wondering who it was. The cowherd turns to look at her, smiles and exits.

Mira - X Searching

SEARCHING

We are back where we began at the gypsy camp. The campfire is dying, with only some embers glowing. A few gypsies are seen leaving for their tents; Mira is alone. Having left the palace to escape the cruel persecution of the Rana, and believing that her path lies in the search for Krishna, she has withstood much in her journey. Exhausted and alone, and with the darkness surrounding her, she begins to despair; would her love for Krishna, and her rejection of the world, be all for nothing?

Mira, distraught and looking around: Krishna! [She reaches out with her hands.] You are the life of my life, O Krishna, the heart of my heart. There is none in all the three worlds whom I call my own but you. You are the peace of my mind, the joy of my heart. You are my beauty and my wealth. You are my wisdom and my strength. My friend, my kin, my home. My present and my future are in your hands. Find me. Carry me across the stormy sea. [She sings softly, pleading], Mere to giridhara gopala dusara na koyi. Mata chodi, pita chode, chode saga soyi. Dasi Mira lal giridhar honi so hoyi. [She sobs into her hands.]

While she is singing, Jayadeva comes out of the darkness and watches her. He takes out his flute and plays the last line of her song he has just heard. She looks up and he stops playing. He comes to her.

Jayadeva, smiling: Lost?

Mira: Looking...

Jayadeva: Who?

Mira, hesitating: Someone.

Jayadeva, sussing her up: A lover? [She becomes uncomfortable but is drawn by his eyes.] Where?

Mira: Mathura. [He smiles strangely at her and then gets up to go.] How far is it from here?

Jayadeva: Not far. Not far at all. [Pause.] It is late. You can start in the morning. Get some sleep. It is safe here.

As he walks away, he plays on the flute soft and low, and the lights begin to dim. Mira lies down and overcome by her exhaustion, falls asleep. The light on her changes to blue as the rest of the stage is totally dimmed out. We continue to hear the flute song as it develops into something colourful and bright. Lights come on to reveal a dream scene of lush beauty. We hear, from the distance, the voices of young boys. Enter cowherds, singing a song on Krishna.

Cowherds: Bhaje Radhe Govinda
Gopala tera pyara nama hai
Nandalala tera pyara nama hai
Mora mukuta maate tilaka gale vaijayanti mala
Prabhu gale vaijayanti mala
Koi kahe vasudevaki nandana koi kahe nanda lala
Prabhu koi kahe nanda lala

Mira wakes up, is surprised by the new surroundings, and quickly hides herself behind a bush. The cowherd boys dance and sing, beating on their makeshift drums and playing on the flute. They are joined by a few gopis. They exit, dancing and singing. A gopi, with a pot, comes running in but finds that she cannot catch up. She looks around, and appears disappointed about something. She sits down, looking here and there, expecting to see someone. She hugs her pot, then, looks at it. She turns it around and we can see that it is partly broken on the side. She caresses this broken part and begins to sing to herself:

Gopi: Madhura manohara gokula madhava mohana murali shyama.
Ananda nadam un venu gaanam enidaya veenayai meetidum nadam
Anbe vaa endru azhaitidum geetham ananda gopala geetham
Inba vedanai eethenna sodhanai idhu enna sodhanai shyama
Madhura manohara gokula madhava mohana murali shyama
Kuzhal osaiyil mayanggi alai paayum en uzham
Kuzhal oothum un vadivam kaanavum enguthey
Pasiyaal vaadhidum gopiyar kangalai kandillaieyo shyama
Pullangkuzhal isei pothum kanna
Pothum pothum shyama

She sings this song and acts out how she has lost her heart to Krishna, after having met him one day in Mathura where he broke the pot of milk she was carrying.

When she sings the refrain for the last time, Mira sings the verse with her, moved by the plea of "enough, enough of this pain in my heart" which echoes her own. While singing this, Mira stands behind the gopi and then turns back to back with the gopi. They both move, with the gopi now facing upstage and Mira facing downstage. The gopi leaves as Mira sings the last line by herself, revealing the intensity of her desire to see Krishna

Mira: Madhura manohara gokula madhava mohana murali shyama.

The lights dim out, leaving the blue spot on Mira, as she slowly lies down. At the end of her song, she closes her eyes.

Mira - IX Miracle

MIRACLE

In this scene, the test of Mira's faith is presented totally in dance and mime. The music is dramatic and sinister. Two guards bring in a dirty looking snake man with a basket. The Rana and Udabhai sweep in, with two ladies-in-waiting in tow. The snake man bows obsequiously to the Rana, and quickly fishes out a wriggling black snake from his basket. The women recoil. Udabhai signals to one of her ladies to bring forward a colourful flower basket. This is placed on the ground in the center. The girl moves away quickly. The snakeman puts the black snake in the basket and quickly covers it tight, carries it with both hands, and presents it to the Rana. One of the ladies nervously takes it from him. But the Rana is frowning. He signals to the guards. They bring the snake man's basket to the center; its owner is happy. The Rana mimes to the snake man, pointing to the basket; "will it work?" The snake man grins and gestures "definitely". "Show me another one" the Rana gestures. The snake man concedes, opens his basket and puts his hand in. The Rana signals to his guards. They pounce on the snake man, one holding him down, and the other preventing him from removing his hand from the basket. There is a look of frantic panic, and then, he screams in pain and thrashes about. He is released but he falls to the ground. A few more spasms contort his body and he is limp. The Rana nods, and then signals his guards to remove the corpse. The corpse is dragged out and the basket removed. The Rana holds the flower basket for a moment and gives it back to the lady.

An old and fat lady, a potion maker, enters with two palace ladies. She is colourfully dressed, carrying a small velvet pouch. She sees the Rana and bows. She takes out a long-necked bottle and smiles wickedly at the Rana. The Rana takes it, pretends to examine it. He gives a signal - a maid enters with a goblet on a tray. Udabhai goes to the fat lady and makes much ado about her person. With alacrity, the Rana pours something from the bottle into the goblet, unseen by the potion maker. He then pulls out a small pouch of money from his waist band and puts it on the tray next to the goblet. The maid goes to the fat lady. Udabhai smiles, the fat lady's eyes widen, seeing the moneybag on the tray. She grabs it off the tray, peeps into it, gasps, there's a big grin on her face, and then she looks at the Rana sheepishly. The Rana gestures smilingly to the goblet. The potion-maker happily picks it up and sips it, then downs it. The effect is immediate; there is a look of horror on her face, her hands go to her throat, her face turns red and she opens her mouth to gasp for breath - she dies. The Rana holds up the bottle of poison and smiles. Udabhai steps over the corpse and stands next to the Rana. The guards come in and remove the corpse of the fat lady.

Udabhai looks into the wings and claps her hands. The guards bring in a chaise-lounge and place it in the center. It is a beautiful piece of work, decorated with ivory and gemstones. The Rana admires it. Udabhai removes the mattress to reveal up-pointing sharp nails. The Rana smiles. They all exit as the light changes.

The music becomes lighter as Mira enters. The melody is a refrain from one of her songs. Two ladies dance in, bringing in a life-size statue of Krishna. Mira dances in front of her idol. Her maids do a short sequence and they leave. Enter from the opposite two other ladies with the flower basket. They are followed by Rana and Udabhai who remain upstage in the half darkness, watching. The ladies dance towards Mira. They mime that it is a garland for her Krishna from the Rana. Mira is pleased. The tone and rhythm of the music change. The basket is placed at Krishna's feet - and the ladies watch nervously as Mira picks it up and dances with it in front of Krishna. Then she kneels and begins to open the basket. The two ladies move back two steps in fear. The Rana and Udabhai move two steps forward eagerly to witness the outcome. Mira opens the basket, and brings out a beautiful garland of roses and tulsi leaves. The others are shocked. We hear Mira's voice singing a refrain from the song, praising Krishna, as she lovingly puts the garland on Krishna. She dances.

The Rana and Udabhai step forward into the light. He takes out the bottle of poison. Udabhai looks into the wings; a maid enters carrying a tray with a small pot and other articles for a puja, and hands it to Udabhai. Udabhai dances with it in front of the Rana, and then holds the tray up; he empties the contents of the bottle into this small pot. Udabhai turns to look at Mira, who is sitting gazing at Krishna. The Rana watches from upstage. As Udabhai comes towards Mira, her expression changes gradually with each step; from a stern and harsh stare to a softened smile. She touches Mira who turns around. Udabhai dances happily holding the tray, miming that she has brought prasad for Krishna. Mira is moved, takes the tray and begins to dance for Krishna making the offering to him. Udabhai partners her in a short duet that suggests a puja. They end up kneeling in front of Krishna. Mira closes her eyes. Seeing this, Udabhai gets up quietly and moves away from Mira, back to the side of the Rana. Mira opens her eyes, gazes at Krishna and smiles. She picks up the pot of prasad, looks at it for a moment and smiles lovingly again at Krishna. She drinks from it. The Rana and Udabhai come forward two steps and wait with bated breath for the poison to take effect. Mira closes her eyes for having received the prasad. The music changes and an intense blue light comes on to Krishna. Mira is filled with wonderment. Then she lets out a gasp - she realizes that the prasad was poisoned. She holds her throat, looks with horror at Krishna, tears flowing from her eyes to know that Krishna has taken the poison for her. She hugs Krishna and weeps. The blue vanishes and she is delighted. The poison did not affect her nor did it have any lasting effect on her darling Krishna. She dances around Krishna and we hear the refrain of her song.

The Rana and Udabhai are shocked but their evil anger overpowers them. They rush forward to confront Mira and to see for themselves the incredible "trick" by Krishna. Mira must be a witch. Mira turns round in fear. The Rana and Udabhai grab Mira. Her eyes plead silently for mercy but they are intent on getting rid of her. The three of them dance; Mira tries to free herself from the clutches of her in-laws. By their looks she knows that they intend to harm her. She begs for mercy. During this sequence, two guards bring in the chaise lounge. The guards come forward. The Rana and Udabhai hurl her into their arms, and then, they stand on either side of Krishna. The guards drag Mira back wards towards the lethal chaise lounge. She cries out to Krishna. They throw her onto the chair. Mira sings her refrain. She gets up unhurt. The others are stupefied. She runs to Krishna as the Rana and Udabhai run towards the chair. Mira looks up at Krishna crying at his feet. The Rana removes the cover of the chair - rose petals fly into the air. Music changes, becomes more dramatic. There is a black out. Two spots come on - we see the Rana "caught" in one and Udabhai in the other. They move as if they are being watched. A third spot comes on slowly and we see Krishna's statue but now in a different place. They look at it, uncomprehending. Music continues. Black out. Two spots come on again and we see the Rana and Udabhai, once again, caught. Krishna is revealed once again, in another part of the stage. And the two cower in fear in their "prisons". The music reaches a crescendo and there is a black out in the sharp silence. Then soft music, and Mira's sweet voice fills the air. Centerspot fades up to reveal Mira at Krishna's feet.

Mira: Paga gungaru bandha mira nachire
Nachire mira nachire mira nachire
Mein to mere narayana ki
Apaki ho gayi dasi re... paga gungaru bandha mira nachire
Vishaka pyala rana ji ne bheja
Pivata mira hasi re... paga gungaru bandha mira nachire
Mira ke prabhu giridhara nagara
Sahaja mile avinashi re... paga gungaru bandha mira nachire

.

Mira - VIII Krodha

KRODHA

In the dark, we hear the dying refrain of Mira's song in the distance, and as it fades, a sharp spot comes on to reveal the Rana Vikramaditya. Standing next to him is a middle-aged courtier who has just finished mumbling something into the Rana's ear. He glares at the offending messenger, who quickly lowers his eyes and withdraws. By himself, the Rana fumes. Enter Udabhai and her ladies. She waves her companions out, and approaches the Rana who has his back to the audience. She stands close to him in the spotlight, glares into the wings as the song fades, and looks up at him.

Udabhai: I really don't know how long more we can take this. She is utterly shameless! It is not enough that she is showing off and prancing about with the dirty beggars who come because she is given out free food - our food - but she has to invite this dirty, smelling cobbler to sit with her. She even smelled his feet! [She shudders.] She really has no shame, displaying herself like that in public. [The Rana listens to this in resolute silent burning anger.] Really, whatever shreds of honour we have left after Bhojraj died more than ten years ago must now be trampled into the dust!

Rana, quietly: Honour!

Udabhai: I just cannot understand why after so many years she just won't fit in.

Rana: She is not of our blood. [Udabhai looks at him.] We've given her too much face. My father spoilt her, giving in to her whims and fancies the moment she arrived. And Bhojraj, my stupid brother, made it worse - blinded by his love for this woman.

Udabhai: Yes. I remember how he allowed her to prepare the Devi Puja prasad the wrong way... [Tears are in her eyes.] And he lost his life in that battle...

Rana: I was too young to do anything then but now, I have tolerated enough... our family honour went to the dogs because of her...

Udabhai: And at his funeral, she refused to join him in the fire, to give him that lasting honour...

Rana: Her madness is sure to bring ruin to our kingdom...

Udabhai: Enough is enough. She will never fit in because she doesn't want to fit in.

Rana, in a harsh whisper: It has been rumoured that our enemy, Akbar, stole into our palace in disguise just to hear her sing... and she spoke to him... [Udabhai looks at him in surprise.] We will now become laughing matter in his court. Soon, we'll be the laughing stock of the whole of Rajasthan.

Udabhai: What can we do? She has never listened to any of our requests, pleas or commands.

Rana, after a pause: She won't have to listen any more. [Udabhai looks at him questioningly. He looks at her intensely.] She must not live. [Udabhai's eyes open wide.] She has only brought misfortune to us. I never did like her but now I know that she is actually the enemy within. For all our sakes, she must not live.

Udabhai: How?

Rana: We will make use of her madness. Her so called devotion to Krishna.

Mira - VII Satsangh

SATSANGH

Just outside the ramparts of the royal fort. A congregation of devotees, a motley crowd of poor and not so poor, crosses the stage from left to right. They are singing one of Mira's bhajans dedicated to Krishna. As they exit upstage right, the clip clop of horse hooves and horses breathing. Enter downstage left, in half darkness two noblemen with their servants. They begin to shroud themselves with orange robes, concealing their rich attire.

Akbar: My dear Tansen, I hope our adventure into Mewar just to hear Mira sing will be truly worthwhile.

Tansen: Indeed, my emperor, I know it must be. The fame of her heavenly singing has come so often to my ears, I can no longer resist the urge to hear her sing.

Akbar: Well, I too am moved by your words. If Tansen whom music lovers everywhere regard as the voice of the gods, can be moved by just hearing about such a person, there must be a sublime experience waiting for us. But my heart trembles not a little at both the prospects of losing our lives in enemy territory and of hearing this nightingale.

Tansen: If we are careful, my emperor, our disguise as holy men in saffron robes will keep us safe. It is reported by our scouts that Mira opens her shrine to all, allowing a congregation of worshippers to offer their songs to her Krishna. I am sure we can safely mingle with those who are gathered there without being noticed.

Their dressing is done except for Akbar's jeweled turban. He looks at Tansen for approval, and Tansen cocks one eyebrow in the direction of the royal turban. Akbar quickly removes it and hands it to one of his men. Tansen nods with a smile. We hear the distant song of the congregation fading in as they enter downstage right. The worshippers seem to be excited about the forthcoming event. As they pass center stage, Akbar and Tansen quickly merge with the moving crowd and the congregation is well on its way as it exits upstage left.

The light changes as their voices fade down but not completely out. Downstage right, a Krishna idol is pushed in and placed facing upstage left on the diagonal. Two stand lamps are brought in simultaneously and these are lit. A soft spotlight is on the idol. Handmaidens scurry about setting the place for the puja. The voices of the congregation fade up as they enter, once again, upstage left. They repeat the last line of the song highlighting Mira's signature, continuously but softly, and begin to settle down. The congregation occupies in a crescent the upper left area of the stage, but spilling onto upstage right and downstage left. The center is left empty. Akbar and Tansen find themselves settling downstage left, close to the audience. Some are chatting softly, others are gazing at Krishna while a small group continues with the song. A few men, seated near Akbar and Tansen begin to chat excitedly.

Man #1: My friend, you have told me so much about Mira. Why is she not here?

Man #2: Surely you can wait a little, my friend. Though of royal birth, she has never kept us waiting past the appointed time of the puja...

Man #3: She has never kept Krishna waiting. You will see that for yourself when she comes...

Man #2: Listen to me, my friend, to be with Mira is to be with Krishna. I have seen it myself; she has the power to show Krishna to us...

Man #1: She can do that!

Man #2: Mark my words. But friend, be careful; this is not a spectacle or a circus but a miracle of the heart. It is an experience given only to a few. Are you ready for it?

Man #3: Look, here she comes...

There is a sudden hush as Mira, now dressed in white, enters with a garland and a tray of bhog. At Krishna's feet, she places the tray and lovingly puts the garland on Krishna. She turns to the congregation and smiles gently at them and then moves to centrestage to sit among the devotees. A maid hands her the tanpura, and she begins to strum it. Upstage right, three ladies dressed richly enter. The first is Uda Bhai, Mira's sister-in-law. She gestures contemptuously to her companions about Mira sitting in such close proximity with the filthy poor. She glares angrily at Mira's back. Mira, unaware of this bit of effect on her sister-in-law, begins to hum, the beginning of a song. Downstage left, Ravidass enters with a beatific smile on his face. Mira is immediately aware of his presence and gets up to receive him.

Mira: Guruji! [There is a bit of excitement among the devotees as Mira brings Ravidas to the center and helps him to sit down. Uda Bhai and her companions are even more shocked. Mira touches his feet reverently.] You bless us with your holy presence.

Ravidas: I have come to receive darshan of Krishna. You will show him to us.

He smiles at her, and nods knowingly. He then picks up the tanpura, all the time looking at Mira, and begins to strum it. Mira closes her eyes and hums - her song begins.

Mira: Mere to giridhara gopala dusara na koyi
Mata chodi, pita chode, chode saga soyi
Sadha sang baith baithlok laj khoyi
Santh dekh dowdi aayi
Jagat dekh royi
Prem aasu dar dar amar bel boyi
Marag me taran mile santh nam doyi
Santh sada sees par nam hridou hoyi
Ab tho bath phail gayi janou sab koyi
Dasi Mira lal giridhar honi so hoyi

["I have no one but Giridhar Gopal. I gave up my mother. I gave up my father, and gave up all my kith and kin. I gave up my shyness in the company of sages. I ran eagerly seeking the saints but the ways and manners of the world came in the way. Then I shed tears. Those tears have kept the creeper of love alive. Saints and the holy name of Sri Krishna were the guiding lights I found along my path. Sri Krishna from within and the saints from without have illumined my path. My Lord, this slave Mira is yours. And you are the goal she wishes to reach. Let people gossip as they please. What does it matter?"]

The congregation is immersed in a wave of devotion - each inspired by Mira's song to "reach out" to Krishna. Ravidas is still, with eyes closed, but tears run down his cheeks. As Mira sings, she performs abhinaya. Tansen and Akbar are moved beyond words, and forgetting himself, Tansen joins Mira on the refrain of the first line "mere to giridhara gopala" embellishing it many times, and Mira dances intoxicatingly to this. Tansen has found once again the divine core of his being and his artistry - and Mira's pure devotion and love for Krishna has shown it to him. The song comes to an end, and there is a moment when Mira and Tansen are gazing at each other, each recognizing the love for God in the other, but nothing is spoken. The enraptured congregation watches in silence. Udabhai and her ladies, however, have seen enough. They leave in a huff.

Tansen: Forgive me, saintly one, for intruding upon your puja. I forgot myself. Please accept my humble apologies.

Mira: Surely the apologies must come from me for my lack of courtesy shown to two very honoured guests. [Her intuition tells her that these are none other than Akbar and Tansen.] What a privilege to have the voice of heaven sing for Krishna!

Tansen: O, lady of purity, please say not so. I am only a humble musician, blessed by God to sing for my supper. [At this, Akbar arches his eyebrows, and Tansen is at a loss for words.]

Mira: Yours is a god-given gift indeed. But why sing for a man who will only give you your supper when you can sing for God and receive his divine treasure?

Tansen: The spirit is willing... ah... but the flesh is weak. [Akbar now glares at Tansen, who can only shrug his shoulders. Mira contemplates this for a moment.]

Mira, quietly: I am happy you have come. My Krishna is pleased.

Akbar: Pray, take this as a gift for the gift of your voice. [Gives Mira the pearl necklace he has been wearing.]

Mira, with a smile: Buying a song again? [Akbar is momentarily stunned, but regaining his composure quickly, he smiles at her.]

Akbar: Please do not misunderstand. It is my humble offering to your Lord Krishna for having such a devotee as you. [Mira holds the pearl necklace, looking at it.]

Mira: Pearls, gold, diamonds and rubies. Pomp and power. Fame and honour. What are these but sinking ships in an ocean of ills? [She looks at Krishna.] God is mysterious. He causes fools to be rulers and learned men to go about begging for food. [Ravidas smiles and nods to himself. Mira takes the necklace to Krishna, and with tears in her eyes, puts it around his neck. She sings, as if her heart is breaking,] Mere to giridhara gopala dusara na koyi... my lord, this slave Mira is yours, and you are her only goal. [She falls at the feet of Krishna.]

Mira - VI War

WAR

In the darkness, the blare of a trumpet, and the incessant beat of drums herald a clash of armed forces. We hear the sound of elephants and horses, arrows whizzing through the air, and the clashing of sharp steel; the shouts and roar of soldiers engaged in bloodshed and death. And above the din, a hoarse voice coming from the distance, "Jey Rajasthan... Jey Rajasthan... Jey Rajasthan..." but as he comes closer, there is a sharp whoosh and a thud; a groan and he is stopped dead in his tracks. The music rises as the battle cry is magnified many times. The sounds of the battle diminish quickly, as the music rushes towards a dramatic opening of the scene, and we hear urgent voices: "Quick, hurry, hurry, this way. Bring him here..."

Lights come on to reveal four or five soldiers, war torn, putting Bhojraj on the ground. The captain of the troop stuffs a rag into Bhojraj's shirt to stem a bleeding wound. The looks on their faces tell us that the prince is mortally wounded. There is deep tension. Will the battle come to an end?

The music picks up all of a sudden; and Mira comes running in and the soldiers make way for her as she kneels near Bhojraj. He opens his eyes to look at her, takes in a breath as if to say something but... Mira looks at him, sobs and holds him close to her and weeps. The captain gently extricates Mira from the corpse. Mira stands aside staring at them and then up into the light, as if looking for an answer. The soldiers pick up Bhojraj as in a funeral, three on each side holding his stiff body, and each turn towards Mira. The captain gestures to her, and she slowly turns. It has become a funeral procession, with Mira following the captain in front and the bearers behind her. The music is slow and solemn, but beautiful, and the procession marches elegantly upstage. Midway, the last two bearers holding Bhojraj's legs get down smoothly to their haunches and Bhojraj is released from the bearers. He comes towards us, now Jayadeva with the smile, as the funeral procession continues upstage into the darkness. Jayadeva begins to remove his bloodstained jacket...

Jayadeva: I told you it was a short part... short and sweet. Most of us don't realize that life, as we know it, is fraught with unexpected events and circumstances beyond our control. But being only human, we delude ourselves thinking that we can last forever. We live our lives not giving Death a single thought until one day he stands right in front of us, with that smile of his, welcoming us with a subtle nod as if we are about to enter the hottest restaurant in town. He knows that we cannot turn back, and even as the moment of truth dawns upon us, we are already sucked into darkness. Well, life is short. No matter how long you have lived, life is short when you have not given your soul a chance to speak; when you allow your mind and your senses to tell you that there is only this, and nothing else.

For Mira, the death of her husband, whom she had begun to love, awoke in her the same awareness of that same mysterious truth she first felt when her mother died. This was yet another awakening; a reminder that life is very soon followed by death, and joy can only give way to sorrow. And Mira would turn more and more into the cave of her heart in search of answers. Unlike most of us, she knew that there was one person whom she loved who could give her the answers, and who would never die - Krishna! But then, more was in store for Mira. Her husband's brother, the Rana Vikramaditya, who always thought Mira headstrong and uncaring of their family's name, had ascended the throne. Now as the Rana, it irked him even more to note that his brother's widow continued to behave as before, to receive all and sundry into the palace, the dirty and dust-covered poor, to join her as she shamelessly displayed herself and her voice.

BLACK OUT - in the darkness we hear singing in the distance.

Mira - V Kalima

KALIMA

A festival dedicated to the Goddess Kali is being prepared in the palace. We see different activities of puja, ritual, decoration and food preparation. Priests, cooks, servants and maids enter and exit in a flurry of activity. A group of ladies, all with big red bindus on their foreheads and carrying trays of gifts as offerings to the Goddess, enter excitedly. They dance to a rhythmic version of the song Kali Maheshwari, and some of them appear to get into a trance. It is a vibrant dance and has the power to mesmerize those who are watching. This sets the tone of how the festival is celebrated in the palace.

Ladies and others:
Kali Maheshwari Parvati Shankari
Sharanam Sharanam Sharanam Ma...

Halfway through the song, a flute soars above the rhythm of the drums, and Mira enters, singing. Hers is a song of personal sadness and yearning, totally in contrast to the song and dance she has unknowingly intruded upon. The others are discomfited..

Mira: Ah! Painfully mad with love am I
But who will hear my sighs
Only those lost in love
Will know what it is to love
In pain I go from door to door
In vain I search for the doctor
Says Mira: Listen, O master
Mira's pain will disappear
When her lover Shyam appears!

As Mira sings, oblivious to the fact that she has intruded, the ladies withdraw in confusion. Udabhai, the sister-in-law enters and is irritated with Mira's insensitivity; it is after all the festival of the Goddess, in honour of their family deity. She picks up a pot and hits it hard to regain the rhythm of the Kali song the ladies were singing. With this cue, the ladies resume their song, bringing out the ferocious aspect of the goddess and ending with them forming a circle around Udabhai who has taken a pose as the Goddess herself. Mira, on the other hand, not really aware that she has spoilt their song and dance somewhat watches all this with amusement and fascination. When Udabhai takes on the pose of the goddess at the end, Mira becomes slightly withdrawn.

Udabhai: Mira, did you not know that it is Devi Puja today? Mira is silent. Are you not helping us with the preparations? As a devoted wife, you should be busy making these preparations in honour of the goddess Chandi so that your husband, my brother, will gain victory in battle.

Mira: I am always saying prayers to my beloved lord.

Udabhai, missing Mira's meaning: Well, that's not really enough. The goddess must be appeased with sacrifice.

Mira: Don't ask me to slaughter any animals. I don't believe in shedding blood!

Udabhai, coldly: You don't have to do that. As the daughter-in-law, you just have to prepare the prasad.

Mira: I can't. I won't. I will not cook any meat as an offering.

Udabhai: Are you mad? Or are you stupid? For hundreds of years, we've been offering prasad this way to Kali Ma to gain her blessings and her protection, to ensure that our family honour and power will increase. Now you just come here with your silly romantic dreams about Krishna and give no thought to performing the duties expected of you. If you don't do as you are told you will stir the anger of Kali Ma. If ill fortune befalls any of us, it is your fault!

Bhojraj, entering with his uncle and seeing Mira in tears, goes to her: What's the matter, Udabhai? What's happened?

Udabhai: Ask her yourself.

Mira: I know that it is my duty to prepare the prasad for the puja but I will not cook any meat and make it an offering. [Bhojraj hesitates and Mira looks at him searchingly.] Please don't force me.

Bhojraj: Well then. Do whatever your heart desires. [There is a gasp from Udabhai.] I am sure whatever is performed with love will be accepted. If not, I will make a special sacrifice to Kali Ma myself. [Mira smiles at him but Udabhai, moving towards her uncle is definitely not happy.]

Mira - IV Chappal

CHAPPAL

In the darkness, sounds of a busy street; as light fades in we can see that different percussion instruments are highlighting different characters and their occupation; there is much banter and noise. In the middle of all this, Raidas the cobbler enters, peddling his cobbling skills...his song is vigorous and witty and his singing is unique to say the least. The other peddlers join him in his song.

Chorus:
Thaka dhim thaka dhim thaka dhim dhim ta
Jhum jhum jhum jhum jhenu dhim dhim ta

Raidas: Far to go, but your sole's worn out
Come to Raidas and sit it out (add bols)
Put up your feet, give me those chappals
Close your eyes, and you're in a chapel (add bols)
Mend your soul, there's nothing better
(If you've far to go) than to come to the cobbler (add bols)

Chorus, taking up with the bols and pointing to their wares:
Thaka dhim thaka dhim thaka dhim dhim ta
Jhum jhum jhum jhum jhenu dhim dhim ta

Far to go, your feet are worn out
Come right here and sit it out
What's your hurry, so what if it's late
You need a break, the world can wait

Thaka dhim thaka dhim thaka dhim dhim ta
Jhum jhum jhum jhum jhenu dhim dhim ta

Rest your feet, your soul's worn out
Sit right down and rest it out
You shouldn't hurry, you wont be late
You need a break...
Chappati? Bel poori? Hot chaaya?

Thaka dhim thaka dhim thaka dhim dhim ta
Jhum jhum jhum jhum jhenu dhim dhim ta

Sit down sit it out heaven's in a moment
It's in my chappati... It's in my spicy chutney
It's in my bel poori... It's in my pakora and chaaya...
Heaven's here and the world can wait!

Thaka dhim thaka dhim thaka dhim dhim ta
Jhum jhum jhum jhum jhenu dhim dhim ta

The chorus disperses variously as light changes to show that Raidas has entered his little hovel. Lights dim out into a spot on him. He sings the song to himself as the music fades down. He busies himself with the tools in his bag, begins to mend his own chappal.

Raidas: Far to go, but your sole's worn out
Come to Raidas and sit it out (add bols)
Put up your feet, give me those chappals
Close your eyes, and you're in a chapel (add bols)
Mend your soul, there's nothing better....

There is a soft knock on the door, and there is a tentative squeak as it is being pushed a little way. Raidas' back is to the door. He looks up, an expression of recognition and then a gentle smile.

Raidas: Come in my dear, I've been waiting for you...

Mira enters, pauses... there is a look of confusion and hesitation on her face, and then she rushes to his feet.

Mira: O master....

Raidas, gently raising her face to him: Krishna's games are always full of mischief. He steals your heart and then he plays hide and seek with you... I should know... [He looks into her eyes deeply.] But he will let Mira find him. Come... [He gently lifts her veil to cover her face and head.] A new journey is ahead of you. [Spontaneously, Mira crosses her legs in the lotus position, straightens her back and closes her eyes as Raidas stands behind her and begins to intone the Ram Nam softly. The spotlight sharpens on them.] Ram Ram Ram Ram Ram Ram Ram Ram...

When he has finished, Raidas steps into the darkness and disappears. Mira, alone, begins to sing... and she does so, she reveals the indescribable, heart bursting joy that she feels, drinking from the divine cup.

Mira:
pâyo jî, maim to nâma ratna dhana pâyo
bastu amolaka dî mere satguru, kirpâ kari apanâyo
janma janma kî puñjî pâî, jaga mem sabai khovâyo
kharcai nahim koî, cora na levai, dina dina baRhata savâyo
sat kî nâva khevaTiyâ satguru, bhavasâgara tara âyo
mîrâ ke prabhu giridhara nâgara, harkha harkha jasa gâyo

"I have found, yes, I have found the wealth of the Divine Name's gem.
My true guru gave me a priceless thing. With his grace, I accepted it.
I found the capital of my several births; I have lost the rest of the world.
No one can spend it, no one can steal it. Day by day it increases one and a quarter times.
On the boat of truth, the boatman was my true guru. I came across the ocean of existence.
Mira's Lord is the Mountain-Holder, the suave lover, of whom I merrily, merrily sing."

As the light fades to black, we see a Mira with a deep sense of knowledge and conviction.

Mira - III Vivaham

VIVAHAM

The year is 1516, a year after the death of Mira's grandfather Rao Duda. A horde of merrymakers bursts in upon us, carrying drums and other instruments. They are dressed in a riot of colours...

Merrymakers:
Let the rhythm of the drum [thaka dhimmi thaka jhum]
Carry the heart of my song [thaka dhimmi thaka dhim]
Let the rhythm of your feet
Carry the heart of my dance
Let the song of my heart
Fill the heart of your love
Let the love in your eyes
Fill my soul, O my love

The merrymakers sing and dance... enter Jayadeva with a few of his gypsies, dancing. The merrymakers recede into the background as he addresses the audience.

Jayadeva: The Rajput clan, famed for their honour and valour for so many centuries, and for their unending struggle for supremacy over each other, found a much more formidable foe in the world conquering Moghuls. Realizing, perhaps a little too late, that a gathering of forces was required, the royal house of Mewar stretched out a bejeweled hand to the house of Merta. A royal marriage would unite and strengthen the clan, somewhat... and the fair princess Mira, now grown into womanhood, and having acquired the skills of archery, fencing, strategy, horseriding, as well as the more feminine accomplishments of poetry, music and dance, was deemed fair barter in this political ploy. And into this circumstance of anxious instability was brought the fair and innocent prince, Bhojraj, who would receive Mira into his royal arms.

In the story of life, every character has a specific part to play, though sometimes somewhat short-lived. And in Mira's life, Bhojraj was one of them. And since it is indeed a very short part, I will play it for you tonight...

A few royal attendants bring in his wedding attire and dress him on stage, as the merrymakers gather again in a swirl. When dressed, he begins to move with the dancers... then a loud crash of drums, the dancers wait with bated breath... and Mira, the princess bride of sixteen, radiant as the autumn moon, is brought in on a palanquin, accompanied by the ladies of the palace. The SONG OF THE MERRYMAKERS is picked up again. The wedding ceremony takes place symbolically in the center as the song picks up... and then at the height of this celebration, a blue spot comes on Mira and everyone freezes as the light dims on them... she looks up into the light... excited, confused and somewhat sad.

Mira: Krishna, my love, today I go to another
Knowing it's you I love and no other
Smile or sleep, how should I be
With this man whose bride I am to be
Knowing it's you I love and no other
Knowing it's only you for me...
It's a vow I've made long before
To give my heart once and for all
Knowing it's you I love and no other
Knowing it's only you for me...

She turns to Bhojraj, knowing that she must tell him her feelings. Bhojraj watches her face as her emotions ripple across her fair face. He gazes into her eyes questioningly. The light changes and the merrymakers disperse. Bhojraj and Mira are now alone. They begin a slow dance.

Mira, hesitating: My lord... there is something you must know

Bhojraj: Yes... Mira...

Mira: Today I give you my hand, my lord
But my heart is already with another
It's a vow I've made long before
To give my heart once and for all
The lord of Mathura is my lord
The lord of love is my love
And loving, I have lost my heart
To him...

Bhojraj: Feel no sorrow, have no fear
On your radiant cheeks no tear
Should fall
All I know is the Lord is near
When you're beside me here
That is all

I see the light on your face, Mira,
It shines like the moon from afar
I see the light in your eyes, my dear
It comes from yonder star

Feel no sorrow, have no fear
On your radiant cheeks no tear
Should fall...

I will build a shrine for your Krishna, so that you can perform your devotions every day, without going out of the palace. Tell me how you want it built and I will see that it is done. Spend your day sitting at his feet and then, when that is done, let me spend some time at your feet.

Mira looks into Bhojraj's eyes and begins to find something there that she never thought was there. A glimmer of hope comes onto her face, and they begin a DUET. The light changes, and reduces to a soft spot on both of them. Mira dances, and Bhojraj leaves her momentarily. It appears that Mira is dreaming. When Bhojraj returns to her into the spot, he is wearing a peacock feather, and he is blowing on a flute. When she hears the flute, Mira turns around, and looks at him in disbelief. Then she rushes to him and falls at his feet, hugging his knees. It is as if her very heart's desire has come true. Bhojraj puts away his flute and raises Mira to him, and they continue the duet - this time with more vigour, with more joy. The light changes to blue and as the music reaches a crescendo, Bhojraj and Mira pirouette away from each other.

The light snaps back to a spot on Mira as she poses while the rest is dimmed out. She waits, and listens for Bhojraj's answering steps but there is none. She turns around; she is alone. She moves slowly centrestage, not knowing what to expect - and she finds Bhojraj sleeping, not Krishna. She looks up at the audience in silence - perplexed, and yet hopeful. The melody of her song comes. And now she sings her song again but very slowly, with a different feeling.

Mira: It's a vow I've made long before
To give my heart once and for all
Knowing it's you I love and no other
Knowing it's only you for me...

The music reaches a deeper level of intensity, and the song develops unexpectedly into the next line of thought and reveals Mira's deepest feelings...

ayrî main to prema dîvânî, merâ dard na jâne koya
sûlî ûpara seja hamârî, kisa bidha sonâ hoya
gagana mandala pai seja piyâ kî, kisa bidha milana hoya
mîrâ kî prabhu pîra miTaigî jaba baida sâmvaliyâ hoya
O Lord, Mira's torment will cease when the Dark Lover comes!
"Oh oh! I'm love-crazy. No one knows my pain.
My bed is over the gallows. How could I sleep?
My lover's bed is in heaven's mandala. How could I get to him?
O Lord, Mira's torment will be wiped out when the doctor is the Dark Lover."

The lights dim as she puts her head on the sleeping Bhojraj.

Mira - II Krishna

KRISHNA

As music swells up, we hear a man's voice calling out to Mira. The light changes once again upstage, slowly revealing the inside of a palace. A shrine, containing an idol of the Goddess, set on a platform large enough for two people to sit on, is pushed in downstage left. This area is lit where the grandfather and granddaughter will sit and pray. In the ensuing conversation between Rao Duda and the young Mira, the older Mira exits. The year is 1510.

Rao Duda, from without, coming in: Mira! Mira!

Mira, twelve years old, comes running in: Yes, dada... I am here.

Rao Duda: There you are, my sweet, where did you go?

Mira: I was picking flowers for your puja, dada... here they are...

Rao Duda: Thank you, dear child. Shall we sit? [She nods to him and they proceed. He lights a lamp, and hums to himself, preparing for the ritual, while Mira watches.] Today I shall sing a song to Kali ma, asking for her protection and blessing. He begins to sing.

Kali Maheswari Parvati Shankari
Sharanam sharanam sharanam ma
Kali Maheswari Parvati Shankari
Sharanam sharanam sharanam ma

Mira: Dada, who is Kali ma, really?

Rao Duda: Why, she is the divine mother herself... the goddess who protects you and me and our whole family...

Mira: But she didn't protect my mother... He is speechless. She took my mother away, didn't she, dada... Insistently She took my mother away, didn't she?

Rao Duda: Your mother was very sick, so Kali ma took her away so that she wouldn't suffer anymore...

Mira: What kind of divine mother is she to take my mother away... maybe she hates me... maybe Kali ma hates me....

Rao Duda: No, Mira, that's not true...

She jumps up, with tears in her eyes, and begins to run. As she moves upstage, the light changes: the darkened stage is lit only by corridor lights coming from specific points which black out as she reaches them. The effect is one of her running hither and thither towards the light, but this continues to elude her. Props brought in earlier, such as pillars and sets are pushed out in the half darkness as she moves from one place to another, showing her movement in different parts of the palace.

Rao Duda: Mira, wait! Wait, my child.

Spot goes out on him and the shrine articles are removed. As Mira runs "out" almost frantically, the cobbler Ravidas enters downstage in the half-light just as Mira crashes into him. They are outside in the garden - a shrub discreetly placed behind them during her "running" sets the scene. A spot is focused on them.

Ravidas: Whoa! He is momentarily stunned, his bundle is on the ground, and Mira looks up, quickly wipes her tear stained face and helps to pick up his things.

Mira: I am sorry... I didn't see you...

Ravidas: You were running with your eyes closed, my child...

Mira: I am sorry... let me help you with your things...

Ravidas: It's all right, child, my things are worthless... they belong on the ground anyway. [He slowly gathers them to him, looking at Mira. All of a sudden he picks up a cloth bundle and quickly rummages through it... and pulls out a Krishna idol, looking at it lovingly for any sign of damage.] Ah! He's all right. No harm done.

Mira: What's that?

Ravidas: You mean, who! Child!

Mira: All right, who is that?

Ravidas: My friend... Krishna.

Mira: Your friend...! May I have a look? [He hesitates and then shows it to her.[
Krishna... [She gazes at the idol.] How handsome he is! [Her eyes open with excitement, and seeing this the cobbler quickly holds the idol tight to his chest. She is surprised at his gesture but something is urging her.] O, please, let me look at him again... I thought he was smiling at me... please...

Ravidas: Just to look... [and he slowly shows the idol to her again.]

Mira: There he is, smiling at me!

Ravidas: He smiles at every girl... [She moves in for a closer look.]

Mira: He is smiling at me... wait, I think he wants to tell me something.... [Pauses, as if listening.] What's he saying? What's he saying? Let me hold him, so I can hear him... [Mesmerized by her spontaneous familiarity, he stares at the young girl as he holds out the idol to her.] O Krishna, how handsome you are. Why is it that I have never seen you like this before? [Pause.] What did you say? [She bursts into an infectious giggle.] I am the sweetest girl you have ever seen? O! I wish I could take you home with me...

Ravidas: Huh!

Mira: Is he for sale?

Ravidas, grabbing the idol from her: No! Would you sell your friend? He is the only one who listens to my nonsense...

Mira: I wish I could have a friend like him with me all day... [Pause.] Will you come again tomorrow?

Ravidas: Why, child?

Mira: So I can come and see him again. When you come... if you come, will you bring him? Will you let me look at him again? Maybe he will speak to me again.

Ravidas: Why do you think he will speak to you?

Mira: He told me he would... [Pause. She looks at the idol fondly while the cobbler glares at her.] Thank you sir, for letting me hold him. I must go back now and tell my grandfather that I have seen Krishna. [She turns to leave.]

Ravidas: Wait, child. [She rushes back and kneels in front of him, expectant. Looking intensely into her face, he puts the idol into her hands. She gasps with joy.]

Mira: O!

Ravidas: He is yours now. Take care of him. You must bathe him, dress him, feed him, sing to him, and put him to bed... I know you will be telling him many things... When you talk to him, tell him not to forget me, poor old Raidas, the cobbler...

Mira: I will surely do that...

Ravidas: What is your name?

Mira: Mira...

Ravidas: Sing his praises, Mira... Already I know he loves your voice, sing for him...

Mira, singing: Mine is the mountain holder, Gopala, there is no one else...
My heart is filled with him, Gopala, he is my very self...
Mere to giridhara gopala, dusara na koi

Music begins to fill the air and this refrain is elaborated on, with Mira's voice taking on a greater intensity. It becomes richer as the lights fade out on stage... IN THE DARKNESS, we continue to hear her voice, its sweetness carrying us into a mood of love and devotion. The music reaches a crescendo and at its height, it seems to be holding its breath, a stillness descending upon us unexpectedly, and then, from a distance, the sound of drums, voices, and a sarangi... the sound of a crowd - it is a wedding procession.

MIRA - I Desert

15 November 2003 26 February 2004

O radharani, darling of Krishna, you came out of the forests of past brindavan, like a dazzling flash into the history of our lives as mira the princess to bless us with your unsurpassed love and devotion for the supreme lover. May our souls sing as you do.

MIRA THE NIGHTINGALE OF BHARAT
A dance drama inspired by Swami Shantanand Saraswathi
to reveal once again the love story of the ages

Characters

Jayadeva, kathakar
Gypsy men and women
Mira, princess of Merta (1498 - 1547)
Rao Duda, her grandfather (d. 1515)
Mira, twelve years old
Raidas, the cobbler saint
Palace servants
Prince Bhojraj, her husband (d. 1521)
Wedding party
City folk and hawkers
Captain of the army
Soldiers
Folk people
Akbar, Mughal emperor
Tansen, his court musician
Uda Bhai, Mira's sister-in-law
Ladies of the court
The Rana Vikramaditya II (1531 - 1536)
Gopas and gopis
Folk of Mathura
Children of Mathura
Haridas and disciples
Rishis
Lord Krishna



I DESERT
We are at a watering hole, in semi desert, the border of Rajasthan, some 100 km from Mathura. Upstage left, a huge well, some trees, and to the right, a gypsy camp can be seen. Just outside a tent, some gypsies are tending a fire, with articles ready for the evening meal. Dusk is approaching. A gypsy under a tree downstage left is tuning his sarangi, and begins to draw out a gentle melody; the tune is a variation of the song "paga gungaru", played slow and sad. A woman enters downstage right, fumbles with her bundle of belongings and leaves them under a tree. She sits down, exhausted, and closes her eyes, leaning her head against the tree. We can see that she is dusty and travel worn. Her dress has seen better days and upon closer scrutiny, we can tell that it was white once. She hears some gypsy women calling out to each other in the background and she turns her head. The gypsy women banter with each other:

Old Gypsy woman #1: Hey, Preeti, get that pot straight or no man will marry you!

Gypsy #2: Eh, Sudha, she'll get better without carrying pots... better than us. Look at that, look at that!

Old Gypsy woman #1: Shameless!

Gypsy woman #2: Hey Preeti, I think Sudha is jealous of you... [The first gypsy woman pinches her friend and there is laughter all round.]

The woman in white listens to this amused. She sees the sarangi player and then she sees the women at the well. With some difficulty, she pulls herself up and moves towards the well. The gypsies at the well look at her curiously, and wait for her to address them. She gestures that she needs some water to slake her thirst. One of them pours some into a drinking pot and hands it to her. She drinks and drinks - maybe two to three pots of it, and refreshed, smiles her thanks. She wets her dupatta a little and wipes her face. By now, the sarangi player seems to have increased the tempo of his song. She walks slowly back to her bundle under the tree, looking and listening to the gypsy song, and then settles down to rest.

Gypsy: Come and dance with me
Put on your bells, sweetie
Come and dance with me
Show me your eyes, pretty
Naachire naachire

Come and dance with me
Dance to my melody
Come and dance for me
Give your heart to me
Naachire naachire

His song picks up when he calls out to one of the gypsy girls and she complies, swirling her big skirt. The tempo increases and very quickly, everyone is pulled into a spontaneous dancing mood. This develops into a ras when a handsome gypsy joins the group. They dance with him excitedly, some are coquettish, some are coy and some are expressive about their feelings for him. At the rising crescendo of the dance, he is in the middle and the girls are swirling around him. He stamps his feet very fast, as the girls circle him, revolving and turning faster and faster. He makes a chakra and stands in a pose with a smile, looking at the girls dancing around him. He pulls out a flute from his waist belt and begins to play a lilting melody above the rhythm of the song... the mood changes, and the girls stop their dancing one by one, and as if drawn by something magical about him, sit at his feet, listening to his flute song. It is now dark. And the song he plays on the flute is a haunting melody. Having established the tune, he tells the girls...

Flute-player: This song is about Radha looking for Krishna.

His words catch the attention of the woman in white and she begins to listen intently as he continues playing. As he plays, we can see that she is overcome with emotion. As he finishes the song, a gypsy woman comes up to him with a morsel of bread from the fire upstage, and sits close to him.

Gypsy #2: You play the flute like Krishna, Jayadeva

Gypsy #3: And he is our Krishna!

Gypsy #4: Give us one of your fantastic tales, Jayadeva

Jayadeva: A tale! You want a tale? [The girls say "yes!" to this.] I will tell you about Radharani, whose ambrosial love for Krishna is beyond compare.

Gypsy #4: Ah! Jayadeva, we already know of Radha... though it will surely be a pleasure to have you tell it... again!

Jayadeva: Ah! But my sweet, this story of Radha has never been heard before... not until now. [The girls squeal in general excitement and curiosity. He waits, and slowly looks around at the girls, taking his time, gathering their attention to him.] The holy rishis, whose hearts are ever set in adoration of Mahavishnu in Vaikunth, had only tasted a small cup of the intoxicatingly sweet love story of Radha and Krishna. Within each, the same desire arose that mankind should see and hear once again, and ever remember, the divinely inspiring story of the adoring soul journeying towards the Cosmic Beloved. On his effulgent couch of Adisesa, the eternal potency of the universe, Mahavishnu gave a gentle smile, and the rishis knew at once that their desire would be fulfilled... [Pause.] They are watching us now, even as I am about tell you this story... this story of a princess who gave up her luxurious palace life, her riches and her wealth, her jewels and her family.... All for love.

Gypsy #5: I would give up everything for you, Jayadeva!

Gypsy #2: Give me your bangles and your nose ring, and you can have him!

Gypsy #5: Ha! He doesn't belong to you!

Gypsy #2: Of course he does...

Gypsy #5: No, he does not...

Jayadeva, getting up and singing as if in a daze:
She had everything
Anything she could own
And yet
She gave up everything
Everything she owned...

Mira, to herself: Everything I owned...

Jayadeva: All for love...

Mira: For Krishna...

Jayadeva: O Mira....

The music swells, the light changes as Mira continues her song while the stage is cleared. Spot on Mira.

Mira: All for love for Krishna...
I had everything
Anything I could own
But I need nothing
Except Krishna as my own...
I had everything
Anything I could own
But I need nothing
Just my Krishna alone
Mira's lord must be kind
Your sweetheart you must find...

She turns to the direction of her grandfather's voice calling her, and is about to answer when her younger self enters, answering, in the next scene.