Before entering cinema, the artistic life of Malayalam actor Sreenivasan was shaped on the theatre stage, with Thrikkarippur emerging as one of the most vibrant centres of his early journey. It was from this fertile training ground that the artiste—who concealed layers of social thought beneath humour—paved his way into cinema.
Thrikkarippur played a decisive role in this formative phase. A committed theatre activist, Sreenivasan formed the drama troupe Ghanashyama and made Thrikkarippur its base of operations. Theatre veterans recall that Ravindranatha Kongat was instrumental in introducing Sreenivasan to theatre, guiding him in his early years and organising dramatic activities. At a time when the theatre movement was at its peak in North Malabar, the Thrikkarippur theatre space marked a crucial turning point in Sreenivasan’s artistic life.
During the tenure of the late P. P. Kunhiraman as president, the Trikaripur National Kala Vedi became Sreenivasan’s regular venue. From this platform, several local artistes found opportunities to work alongside him. Deepti Govindan, Kana Ramesh Babu, Valsan Thrikkarippur, and many others remain living witnesses to that rich theatre phase. Along with honing his acting skills, Sreenivasan also took his first steps as a writer here. The language, thought processes, and social sharpness that later defined his film characters were a direct continuation of these theatre experiences.
Cultural ethos
In 2016, when the second floor of the Thrikkarippur Navjeevan Club was renovated, Sreenivasan attended the event as chief guest. Workers of Navjeevan recall that the visit was made possible through the efforts of Deepti Govindan, a former associate. The people of Thrikkarippur accorded him a warm and celebratory reception
Sreenivasan was also instrumental in confidently bringing the language and cultural ethos of North Malabar into Malayalam cinema. Films rooted in the region’s speech, humour, and social consciousness were warmly embraced by audiences.
As he became increasingly active in films, including Mani Muzhakkam, Sreenivasan gradually moved away from Thrikkarippur. However, he never severed his ties with the artistes and cultural collectives of the region. Even after leaving the stage, Sreenivasan’s presence continues to live on in Thrikkarippur’s theatre tents through Ghanashyama—as memories that refuse to fade, blending laughter with thought.
Published – December 21, 2025 12:15 am IST
