Pre-Onam celebrations over the week-end have escalated to the eve and this evening, after a holy merrymaking by the little ones by way of a Bala Sangamam, students from Sri Sathya Sai Vidya Vihar, Aluva, staged a thematic drama presentation at Sai Kulwant Hall in Prasanthi Nilayam. The drama entitled ‘Radha Bhakthi’ was a depiction of the Madhura Bhakti as exemplified by Radharani towards the Supreme Personality of Godhead incarnated as Bhagawan Sri Krishna. Notably this was one of the most favorite themes of Bhagawan, Who, at a physical level, had written, composed and directed the drama decades ago.
The performance began with a prelude, echoing Bhagawan’s own words that dramas and presentations in Prasanthi Nilayam are to bring awareness to one and all and it is His Sankalpa. Indeed, the evening presentation truly turned out to be one such revelation, a tool of awareness, a depiction of true love -Madhura Bhakti.
Brindavan is all set for the homecoming, welcoming Krishna back and the gopis are enormously elated, bubbling with blissful enthusiasm. Back in Dwaraka, Krishna’s consort Sathyabhama is in deep pain, being jealous of Radha, and thus unwilling to escort the Lord to Brindavan.
Saint Narada, as is his wont, comes at the right time, narrating the happenings at Brindavan that is overwhelmed by Kali’s devilish tricks. Men folks there had decided to lock up Radharani, whom they termed as ‘mad’, so as to block her from the vicinity of Krishna.
Radha is supremely pure and divinely blessed, ever ecstatic; the very form of Radha forms an intrinsic part of Krishna that had separated from Him; that is why Krishna goes round and round Radha, in order to take her back unto Him, thus advised Narada urging Sathyabhama to worship Radha as Supreme Shakthi.
Simultaneously, Gopis at Brindavan are in deep distress at the plight of Radha, who is in captivity, whose heart incessantly throbbed for her Krishna. However, Radha remains in a deep state of union with Krishna and thus prompts the lamenting gopis: Dwaraka is the physical body, Mathura is the heart and Brindavan is the unsullied love for Krishna. She further advises them not to look for Krishna in the physical, but to look within.
In the meantime, deluded villagers get to earn and learn at the hands of destiny, correcting their way to goodness and thus accepting Radharani.
This Radha does not need anything other than You, Krishna, please don’t try to feel/test me again, thus responded Radharani to Krishna in the climactic scene, a reminder to one and all from Bhagawan, to get immersed in Him, the Supreme Source.
Dialogues turned into sprinkles of wisdom, songs turned into evergreen melody of Divine Romance, and the presentation in a nutshell turned out to be a re-awakening instrument for the evening assembly, a reminder for every single soul.
Radha Bhakti is indeed the tool of liberation. The drama was a beautiful depiction of God’s Own Story, in God’s Own Style.