By Sharuni Weerasinghe

Indu Dharmasena’s beloved stage comedy ‘Madai Tomiya Colomba Giya’ made a triumphant return to the Lionel Wendt Theatre this past weekend, delighting audiences with its timeless wit, cultural satire, and a refreshing dose of ‘rural-meets-urban’ chaos. The revival of this Sri Lankan classic proved that some stories never grow old. 

At the heart of the story is Tommy, an innocent and eccentric young man from a village, whose life takes an unexpected turn when he is selected to become the manager of a new garment factory, thanks to the investment of Lucy. However, Tommy’s lack of polish and sophistication prompts his family to send him to Colombo, under the dubious mentorship of Andana, a flamboyant hairdresser tasked with transforming him into a presentable "Colombo gentleman."

Tommy’s journey from idiotic innocence to an awkward attempt at city chic is the comedic anchor of the show.  As he struggles to grasp English consonants, understand Colombo's rigid social etiquette, and keep up with its ever-changing trends and fast-talking elites. His awkward encounters with high-society women, misunderstandings rooted in class and language, and his earnest but severely misguided efforts to “fit in” form the substance of a narrative that is both light-hearted and insightful. 

This Iconic portrayal of Tommy embodies the character with endearing innocence, sharp comedic timing, and exaggerated physicality that had the audience roaring with laughter. Whether he was bungling a sentence or mispronouncing an English idiom with wild confidence, the actor brought an infectious energy to every scene. 

Supporting performances were equally compelling. Galaboda Ralahamy, Tommy’s father, delivered a strong performance as the quintessential village patriarch. The ever-hilarious Andana Silva was played to perfection, giving the character an over-the-top theatricality that contrasted perfectly with Tommy’s rustic confusion. The trio of Colombo socialites stole scenes with their exaggerated sophistication and biting commentary, providing a comic mirror to Colombo’s elite. Not forgetting the remarkable performance of Geetha, whose hurtful yet honest words to Tommy, combined with his love and affection for her, triggered his unrecognisable transformation. Tommy’s eccentric return to his village had everyone from his own parents to the audience questioning his audacity, while simultaneously being impressed with his renewed persona. 

From the moment the cast stepped onto the stage until the final curtain was drawn, the audience roared in laughter because they were able to relate in some way to what they were witnessing before them. The familiarity and local flair that Dharmasena offers in this play undoubtedly contributed to its massive success. 

What makes Madai Tomiya Colomba Giya more than just a slapstick farce is its brilliant portrayal of the shallowness of Sri Lankan social divides, to a Sri Lankan audience, through brilliant humour and comedic relief. Dharmasena skillfully illustrates the social aspirations, class pretensions, and linguistic absurdities of Sri Lankan society.  

Moreover, the distinct contrast made between the village and the town, the posh and the modest, the fluent and the inarticulate, created not only incredible comic relief but misunderstandings and misinterpretations, which propelled the plot forward. The cast and characters played into stereotypes, further exaggerating the characters' personas. 

The manner in which this play uses comedy as a lens through which to examine society allows the audience to leave the theatre with more than the memory of laughter. Beneath the laughter lies an incisive commentary on the Sri Lankan obsession with English fluency as a measure of intelligence and status. Tommy’s sincere efforts to "become someone" — and the ridicule he faces along the way- offer both hilarity and subtle critique.

The use of language in the play deserves special mention. Dharmasena’s script fluidly blends Sinhala and English in a way that is both realistic and rhythmically comic. The code-switching is not only natural but also serves as a cultural marker, emphasising how language is used as a tool of power and exclusion in urban Sri Lankan society. The play pokes fun at this dynamic without being harsh or cruel, maintaining a tone of affectionate mockery rather than bitterness.

The audience’s response across all three nights was overwhelmingly positive. Laughter echoed through the theatre from start to finish, and many attendees left commenting on how refreshing it was to see a play that was both entertaining and reflective of their own cultural experiences.

In a landscape that often struggles to balance relevance with tradition, Dharmasena’s play proves that it is possible to do both. The story of Tommy is one that many Sri Lankans can relate to, laugh at, and learn from. His innocence, his eagerness to impress, and his inevitable discovery that self-worth is not defined by social polish makes Madai Tomiya Colombo Giya more than just a comedy; it’s a cultural snapshot, lovingly rendered.

Audience Comments - 

"It was hilarious, Tommy coming back from Colombo, a brand new perso,n was the most hilarious part’’ - Geraldine de Silva Wijeratne

"It was incredible, the cast was fantastic, and the whole play was nice. I have worked in salons and experienced many of these conversations before. The salon talk was incredibly accurate to real life’’ - Rayaha and Thaslim Rahman

‘’Colombo needs this kind of humour. I hope they show this play again soon.’’ - Preethi Wijegunawardane

"It was a great show, the cast did an amazing job’’ - Ruwini Anjani

‘’It was an excellent comedy, we enjoyed it thoroughly’’ - Sumithra Gunasekera

‘’We came specially to see a great friend of ours in the cast, but the show was fantastic, we enjoyed it.’’ - Mala Lecamwasam

‘’It was a very good show, we enjoyed it thoroughly, the cast was excellent and we look forward to the next show’’ - Nimal De Silva

‘’I found it really funny, it was nice and refreshing’’ - Dushyan Dissanayake