P L launched off his `dramatic' career by writing `Tuka Mhane Ata.' The play, according to P L, projected Sant Tukaram in `revolutionary' way, and was expected, again in his own words, `to make waves.' He, however, candidly admits that it was washed away in the torrential rains of November 1948, when the play was first staged at Pune. `Tuka Mhane Ata' flopped.
Nonetheless, a veritable treat of dramas and his one-man humorous shows was in store for the Marathi audience. `Tuka Mhane Ata' was followed by `Ammaldar' (script, acting), `Bhagyawan,' 'Mothe Mase, Chhote Mase,' `Aamhi Latike Na Boloo,' `Vitthal To Ala Ala,' `Tujhe Ahe Tujpashi,' `Sundar Mee Honar,' `Tee Phulrani' (adopted from George Bernard Shaw's Pygmalian), `Teen Paishacha Tamasha' (adopted from Brecht's `Three Penny Opera'), `Ek Jhunj Varyashi,' and two plays for children _ `Vayam Motham Khotam,' and `Nave Gokul.' As usual, P L had numerous roles to play, from writing, to direction, and acting too.
`Tujhe Ahe Tujpashi,' P L's independent play, is a landmark not only in his career as a dramatist but also in the history of Marathi theatre. It was hugely popular. It focuses on two diametrically opposite approaches to life, the inherent contradictions in human nature and the fun that such a situation creates. Comic to the minute, it also has two other special P L touches. His refusal to damn a point of view he is making fun of; and his seasoning of humour with compassion.
His wife Sunitabai, an accomplished personality herself, had formed a group `Anamika,' to stage the best of Marathi programmes. `Gadkari Darshan' was among the choicest stage-productions of the group. It was a tribute to the legendary poet and playwright, Ram Ganesh Gadkari. In the programme, the creative couple, supported by Sunitabai's sister Shalan Patil, brought alive various characters in Gadkari's plays like `Rajsanyas,' `Ekach Pyala,' `Punyaprabhav' and `Bhavbandhan.'
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