We pick up the narrative around the middle of 1966.
First, a significant change occurred at my workplace. V Subramaniam, our section head, left the Company. Then, I believe it was around early 1967 that Ashok Nagarkatti joined us from BHEL. He had worked in GEC UK. He brought a breath of fresh air to KEC. He was always well-dressed, wearing a tie to work. He started calling us by our first names and insisted we call him Ashok. He came with no baggage, so he had no prejudices about language, etc. He was clear in his mind about the goals for our department and how to plan to achieve them. For the first time, I started liking the work I was doing. Ashok initiated the big project of developing an entirely new series of large motors, which we named the K series. This was to replace the old T series, which used the old designs that we had received from Brush Electrical of the UK in the 1950s. Knowing my aptitude, I was given the task of the mechanical side of the designs, while my colleague looked after the subject of the insulation system of high voltage coils.
As the product started taking shape, there were many exchanges of views, and there were numerous discussions around the drawing board where I was constructing the general arrangement drawing. The Chief Engineer was invited, and I remember even Mr Kirloskar came a couple of times. Finally, we were all satisfied with the shape and functionality of this machine, which was to be the model for the entire series of large motors. The next stage was making component drawings, and I detailed this to the other draftsmen working with me. Work started moving briskly. Then came the ordering of components. Most of these were steel fabrications. I had to visit the vendors to explain and inspect when the components were ready. In parallel, a new facility for making high-voltage coils was being organised. Finally, all components arrived, and it was time to assemble our first motor. Like all large equipment, this motor was made against a customer's specifications. (It so happened that the order was for a frame larger than the smallest, K 450, so we started with that size.) It was a big moment when the motor was taken to the test bed and started for the first time. We had invited the customer too for the testing. Everything went off well, the motor was sent to the customer, and it worked well at the site.
This then was the story of the first machine in our K series motors. I was very happy to be a part of the exercise.
Then the new orders started coming, and more varieties and sizes were manufactured over the next 2 years. I travelled for the commissioning of some of these motors at customers' sites. Some sites were in remote areas like coal mines, steel plants, and I gathered varied experience during these travels.
In the meantime, another opportunity came my way, rather unexpectedly. We used to supply vertical motors to drive deep-well pumps. These motors sat at ground level, and a long shaft connected the motor to the pump located several metres below the ground level, typically, 80-150 metres. The present setup was obviously an expensive system. Hence, submersible motors were considered, which, together with the pump, will be installed at the bottom of the well. This was a totally new concept. Not many people were making such motors. We took up the project with the help of the pump manufacturers Johnson Pumps, in Calcutta. An imported motor, manufactured by US Motors, was available for study in a workshop in TN, We were not supposed to take it out, though. I was asked to go and study the motor and make sketches, and generally advise if the project is feasible. I spent two days at that workshop, took out as many components as possible, and made sketches. On my return, I made a detailed report about the market possibilities, as well as the feasibility of manufacturing this motor.
My writing skills had obviously improved. My report first went to the Chief Engineer, who sent it to Mr Ravi Kirloskar, who in turn sent it to Mr N.W. Gurjar, our Chairman.
On the report, Mr Kirloskar, in his trademark green ink, had remarked, ''Good report!'' That really made my day. To be noticed by the top echelon at that young age was really morale-boosting.
The project was approved, and we decided to manufacture the first batch of three motors as prototypes. I was just given one draughtsman as an assistant, and I got down to work. All the components were unconventional, so we needed a great deal of searching to locate vendors. I travelled to their places, explained our needs. Finally, all was in place, and the manufacturing started. I had to spend a lot of time on the shop floor. Finally, the motor with its unusual cylindrical shape was put to the test with water inside. There was a great deal of curiosity, and a crowd had gathered to witness the testing. I muttered a quiet prayer when power was connected. It started purring smoothly! My project was successful!
In due course, I took this motor to Calcutta to the factory of Johnson Pumps for testing with their pump. All this was new territory for me. The people at Johnson were very nice and friendly, and we completed the test successfully. The GM of the company, I think the name was Ramachandran, invited me to dinner at his house. I had not seen such luxurious houses before, and I was duly impressed, though a bit overwhelmed.
In parallel, I was getting more active in the Maharashtra Mandal as well. I was elected the secretary of the Mandal. This meant not only attending regular meetings but also arranging various programs. Our President in my first year was Mrs Indutai Kirloskar and then Mrs Sulutai Marathe. I also entered stage activities, much to my own surprise. At that time, the Mandal staged one main drama during Ganeshotsava, a full three-act show that was usually performed at Ravindra Kalakshetra. The towering figure of Appasaheb Deshpande was our director. I attended the practices in 1965, which were staged in the Mandal hall, but did not take an active part. In 1966, I was offered a small part but after a few sessions, the director found me not suitable, so I was eased out gently.
However, there was a surprise in store for me. Another smaller group called Anand Mandal in Malleswaram also organised their own Ganeshtsava. Their director, a lady, Mrs Deshpande, asked me to act in a humerous one act play portraying the character Bandu, created by my favourite author Gangadhar Gadgil. So, finally, I appeared on the Seva Sadan stage in Malleswaram playing Bandu in front of a small but appreciative audience. This was a slapstick comedy, and I discovered that I had a fair sense of comedy.
Another play happened soon. My friend Jawadekar planned a one-act play by Padmakar Davare, ''Badam Rani Choukat Gulam". He wanted me to play the lead role of 'Manohar' or 'Manya'. A good-looking girl in Malleswaram, I forgot her name, but something Navare, was playing my love interest. It was a great cast, with my friend Prakash Ankalikar playing my uncle, and Kaka Akolkar playing the state ruler, the girl's father. The practice sessions took place in the girl's house, which was at the corner of 8th Cross and 11th Main Road. After dinner and till about 10 or so. Very convenient since within walking distance for all. After about a dozen sessions, we were ready, and the play was staged on the Maharashtra Mandal stage in front of a packed house. I was quite nervous in the beginning. but when the audience responded to the first joke, the nerves disappeared, and we were all in full flow. The play was a great success and I got many praises. All credit to Jawadekar.
In 1967, I was finally given a role in the main play. This was playing a public prosecutor in the play based on the famous real-life sensation of the Nanavati murder case. The name of the play, ''Aparadh meech kela''. I enjoyed our practice sessions, which took place close to my house, at Kaka Akolkar's house on the 13th cross. They started after dinner and often continued till late at night. Again, a formidable cast was assembled. Rajabhau and Sulutai Marathe, already with a big reputation, young Jawadekar, Kaka Akolkar and me. The storyline was strong and had plenty of scope for histrionics. My role was small, but what I enjoyed most were our practice sessions. They were lively, often full of humour, but for me, very educational. I saw Appasaheb Deshpande's directorial skills at close quarters. He was essentially old school, trained under the famous director K Narayan Kale. He gave great weightage to the correct delivery of the dialogues, somewhat less on other aspects of stage craft like movements, or the stage setup, lighting, music arrangement, etc. He was a tough task master, sometimes making actors repeat the dialogue multiple times. I was asked to adapt smoking a pipe as an accessory for the public prosecutor. This took some doing, as the pipe had the habit of going out so often. I enjoyed holding it in my hand though.
The 6 weeks or so passed swiftly, and we finally arrived at the famous Ravindra Kalakshetra auditorium on a Sunday morning. For me, it would be my first appearance there. As always, the show was fully booked. We were going under the makeup and other final preparations. Finally, it was on. The play progressed very well, and the responses from the audience were very encouraging. I appeared in the final act of the courtroom trial, clad in the lawyer's black jacket and made my impassioned speech as to why the accused must get the death sentence. The play was very well received by our Bangalore crowd.
While all this was going on, I had turned 25, and there was talk about my getting married. Suggestions started coming in. I visited a house in Pune during one of my official visits to meet a prospective bride. There was nothing special in that visit; it was just one of those experiences, that's all.
There was just one more girl I met after that, and she was Vijaya Dixit
More about that in the next chapter!
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