Subbu is completely subservient to his wife, Saroja. He monitors the household chores and serves as a yesman - a hen-pecked husband to Saroja while Saroja, an ambitious, assertive and domineering wife to Subbu is a thorough-bred feminist and an elite social activist. Subbu runs the household while Saroja is engrossed in her public activities and social work. Too busy to worry about her family, she employs an aayah to take care of her toddler.
One evening, Subbu bumps into his old crony, Narasimha. Narasimha warns Subbu that if he didn`t shed his image of being hen-pecked, the whole world would continue laughing at him. Narasimha invites Subbu home to meet his Sitadevi-like wife, Kamalu and thereby learn how to `control` his wife. Later at Narasimhas place, Subbu witnesses Narasimhas tyranny towards his meek wife Kamalu and is shell-shocked. Completely empathetic about Kamalus plight, Subbu invites the couple to his place for some cocoa, intending to straighten up his friend under the control of his wife, Saroja.
However at Subbus place, its a Clash of the Titans as Saroja takes on Narasimha with a furious war of words. Being a Woman Rights Activist, she severely condemns Narasimha for turning her childhood friend Kamalu into a selfless, identity-deprived cock-pecked wife. But Kamalu, a significant influence in Saroja`s life, lends deep insights into womanhood, motherhood, children and married life, which come as startling revelations to Saroja. The hen-pecked husband and the cock-pecked wife are in reality, not what they appear to be while the brash counterparts are irrefutably, mere puppets (not the other way round).
The well-educated but quiet and unassuming Kamalu, her best friend - the brash, pompous feminist Saroja, Saroja`s husband - the henpecked, subservient Subbu and Subbu`s best friend, the garish, chauvinistic Narasimha - satirically depict married life in Ammavra Ganda athva Yajamaanra Hendathi.
ABOUT THE PLAYWRIGHT:
Thyagaraja Paramasiva Kailasam (1884 - 1946), was a playwright and prominent writer of Kannada literature. His contribution to Kannada theatrical comedy earned him the title Prahasana Prapitamaha meaning The Grand Old Man of Humorous Plays.
Kailasam was born in a Tamil family in southern Karnataka, India and educated in England. On his return to Karnataka, he worked to improve the literary scene there. His life was dedicated to local theatre and his contributions revolutionised it. His application of humour to his plays left an everlasting impression on Kannadigas. He opposed the company theatre`s obsession with mythology and stories of royalty and shied away from overloading his plays with music. Instead, he introduced simple, realistic sets. Kailasam chaired the
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