Towards the end of the nineteenth century, Tamil drama was hated by good people. This was because of in fights among artists as well as uncontrolled obscene dialogues. Only the lower strata of society patronized drama and enjoyed the unsavoury acts. Pammal Sampantha Mudaliar and Sankaradhas Swamikal sowed the seeds of reform. Changes were ushered in due to the impact of the west.

New drama troupes were formed. Their aim was to put on stage wholesome performance. There were professional as well as amateur Drama troupes. Professional troupes were dependent on the income from the plays. They had professional drama artists. Amateur troupe artists, on the other hand, had some other occupation. Drama was only a hobby for them. Pammal Sampantha Mudaliar played a significant role in introducing amateur drama. The first such troupe was Suguna Vilasa Sabai. Many educated youth were introduced to Tamil drama.

In Balar Nadaga Sabai rig had an all children troupe. They were called Balar Sabai or Boy’s company. Originally only boys were taken; however girls also started acting later. T.K. Shanmugam was one of the pioneers of this type of troupe. Such permanent drama troupes adopted the Gurukula system. They lived and ate together. They travelled together. Roles were assigned on the basis of looks. They observed the moral code and discipline with religious fervour.

Many new actors came into the profession, because of the discipline and morality. People like Kanthasamy Mudaliar trained the artists. Other noted trainers were Sankaradhas Swamykal and Krishnasamy Pavalar.

The actors received training in acting, music and literature. To avoid stage fear, they were trained in minor roles initially. Voice training was also given.

Several reforms were introduced in acting.

Due to the renaissance, drama became popular. Actors were respected. A receptive audience was created. Thus a new life was breathed into Tamil drama.