Foreign Plays

3.f. Prachyanat Production Tragedy Polashbari (5)
All Plays Bengali Foreign Plays

TRAGEDY OF POLASHBARI

Playwright & Director: Azad Abul Kalam
Group: Prachyanat, Bangladesh
Language: Bengali
Duration: 1 hr 20 mins

 

The Play

The play starts with the entry of a garment owner forcing the labour to work, no matter what. The next scene shows garment workers with their everyday routine of working like a machine. Suddenly the building, where the labour is working, collapses and Taravan, the central character, wakes up to find the horror around herself. She is stuck in the debris and about to die in a few moments. But before she breathes her last, she takes a journey of reminiscences, scene by scene, to glance over her yet incomplete life.

 

Director’s Note

The owner of the Spectrum Sweater and Knitting factory is no different from million others who are inhuman in their approach to making money. The nine-storied building of the Spectrum factory at Polashbari in Savar collapsed at midnight on the 11th of April, 2015. The building had been tilting on one side and that night it came down and became a giant heap of rubble. The radio, TV and newspapers were flooded with information on the collapse, the deaths, and the agony.

But sooner than one can imagine, a public swamp was filled up and turned into a modern establishment and machines were running again, making export-oriented garment products. The authorities watched silently since they had already been well-fed.

The debris had turned into a grave of those who had small dreams which were yet to be fulfilled as opposed to the overflowing coffers of greedy, ugly, money-seeking dogs. Tragedy of Polashbari tries to convey the unfulfilled dreams of those simple, hardworking, innocent people.

 

The Director & Playwright

Azad Abul Kalam, born in Dhaka, Bangladesh on 26th of October 1966, is a director, playwright and actor. He received his M.A. in Mass Communication and Journalism from the University of Dhaka. In 1997, he, along with some of his colleagues, founded Prachyanat, a theatre troupe which is today one of the prominent theatre platforms in Dhaka. His major directorial works include Circus Circus (1998), Robert Bolt’s A Man for All Seasons (2001), Koinna (2002), Bou Basanti (2004), Raja Ebong Annyanya (2008), Tragedy of Polashbari (2014) etc. He has also worked as a participant and director in Japan, UK and Denmark.

 

The Group

Besides producing four successful full-length plays, Prachyanat has as many as eight different programmes running at Prachyanat School of Acting and Design which was established in 2001. The school has successfully run thirty-six 6 month course batches while its thirty-seventh batch is already underway. Theatre-in-the-Open, Prachyanat for Children, Theatre-lab Production, Prachyanat Research Cell and The Musical Ensemble are part of the group’s creative approach.

 

Cast & Credits

Taravan Parvin Sultana Koli, Parvin Paru, Shahana Sumi
Husband/ Bujan/ Woman 1 Mohammad Rafiq, Proddut Kumar Ghosh
Osman/ Father-in-law/ Mother-in-law Rifat Ahmed Nobel, Sudip Biswas, Shahriar
Villager 1/ Woman 2 Rana Jewel
Villager/ Citizen/ Garment Worker Gopi Devnath, Md. Farhad Ahmed, Moniruzzaman Fuad Bin Idris, Tanzi Kun
Set & Lights Abul Hashnat, Bhuiyan Ripon
Set Assistant Rezaul Reza, Shashanka Saha
Light Assistant Mokhlesur Rahman
Music & Sound Design Neel Kamrul
Choreography Snata Shahrin, Md. Farhad Ahmed
Costume Bilkis Jahan Joba
Props Afsan Anwar
Props Assistance Gopi, Naimee, Raka
Video Art Saiful Islam Jarnal
Video Art Assistant Al-Amin Khandaker, Rayhan Rafi, Rayhan Afser
Poster, Leaflet, Ticket Sabyasachi Hazra
Music & Sound Implementation Chetona Rahman Vasha, Bin-e-Amin Song Collection
Song- Dhu Dhu Ghathay Deiya Theke Rontik Bipu
Costume Assistant Kamrun Nahar Moni
Video Voice Heera Choudhury, Aref Syed
Photography Zaid Islam, Prajna
Set Making Dip, Fuad, Arif, Raju, Rana, Avik, Pavel, Adnan, Evon, Atik, Emon, Ripa, Rita, Rinku
Light Provider Spotlight
Hall Management Prachyanat Members
Production Management Rifat Ahmed Nobel
Production Management Assistance Md. Sohel Rana
Overall Supervision Saiful Islam Jarnal
Installation ABS Xem
Mask Amy Trumpeter
Special Gratitude Humayun Kabir Himu, Idelic Design, Rajib-un-Nabi, Channel 24
Directorial Assistant Prajna Tasnuva Rubayyat
Assistant Directors Jagonmoy Paul, Bakar Bakul
Playwright & Director                                  Azad Abul Kalam

Contacts

Prachyanat

278/3(3rd Floor) Katabon Dhal

Katabon Elephant Road, Dhaka

Bangladesh – 001205

M: +880 1712078123, 1819929397, 1715004075

E: prachyanat@gmail.com, azadak26@yahoo.com

W: www.prachyanat.org

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All Plays English Foreign Plays

GREASE YAKA RETURNS

Playwrights & Directors: Nishantha de Silva & Rajitha Hettiarachchi
Group: Ananda Drama, Sri Lanka
Language: English
Duration: 1 hr 05 mins

The Play

Prologue – Fear Walks

Study Partners – Sahani and Arun ‘study’ despite Kalana, when they see their creepy neighbour.

Lu, Lu – Sahani posts a story that goes viral.

Bus Stand – Kanthi and her daughter Charini learn about the grease yaka.

Shoe Shopping – Arukshi is shoe-shopping with Kishan, helped by a greasy salesman.

Lunchtime – Supun, Hansani, Ms. Shriya and Mr. Manjula are public servants. What happened to their dessert?

Channel Surfing – TV shows enthrall the nation. What is this grease disease?

Warriors – Sahani conducts a make-up tutorial, but can ‘darkies’ discuss beauty?

Spilt Coffee – Charini appeals to Arukshi for help against discrimination.

Fairness Treatment – Sahani needs help to become fairer.

Mirror – The politicians are with us.

The Cure – Kanthi seeks medical help for Charini.

Consequences – Riots!

Another Beginning – We look to our leaders.

Epilogue: A Mother’s Love – Is there a cure?

 

Directors’ Note

The Grease Yaka (grease demon) myth describes scantily clad, grease covered men suspected of crimes ranging from voyeurism to rape to abduction and murder in Sri Lanka. Although no grease yakas were ever caught, grease yaka ‘sightings’ hogged the headlines from time to time, causing widespread alarm and panic, especially during the conflict period. Ananda Drama’s Grease Yaka (2014) examined the emergence and proliferation of fears in the society by using this urban legend as a metaphor and a tool.

Grease Yaka Returns, first staged in 2018, explores the corrosive and sometimes devastating consequences of those fears. It looks at how easily distrust can be sown between various groups in the society through the aggregation of relatively small event and incidents. It looks at how quickly this distrust can morph into social divisions, sometimes even erupting in violence. It holds a mirror, and a warning, to the society.

 

The Directors & Playwrights

Nishantha de Silva is the founder of Ananda Drama, a non-profit theatre company based in Colombo, Sri Lanka. Before Grease Yaka Returns (2018), Nishantha co-wrote and directed the trilingual political satire Picket Republic (2017) and a comic adaptation of Dracula (2015). He produced Grease Yaka (2014) and Grease Yaka Returns (2018) for Ananda Drama. Together with Rajitha, he won the awards for Best Direction and Best Original Script at Sri Lanka’s State Drama Festival 2019 for Grease Yaka Returns, which won a total of 10 awards including Best Play. His other directing credits include The Tempest at The Workshop Players’ Shakespeare in the Park Festival 2017 and Stuart Paterson’s adaptation of Michael Morpurgo’s Kensuke’s Kingdom (2013). He holds an M. Phil from Cambridge University and a Fellowship in Directing from Trinity College London.

 

Rajitha Hettiarachchi joined Ananda Drama as a writer and director following its establishment in 2013. Rajitha co-wrote Grease Yaka (2014) with its director Ruwanthie de Chickera whilst also acting in it. He acted in Stages Theatre’ Group’s Walking Path, which won Best Play and Best Ensemble Cast at the THESPO theatre festival in Mumbai in 2014. Rajitha founded the performance company Idea Couch and was an Art Think South Asia Fellow in 2018. He holds a B.A. in English from Sri Jayawardenepura University and is an Attorney at Law.

 

The Group

Ananda Drama grew from the work carried out by its founder Nishantha de Silva and other alumni at Ananda College, Colombo, since 2006. With many students involved in the school’s English theatre activities wanting to continue their work in theatre after graduating, Ananda Drama was formed as a non-profit entity in 2014 to showcase their work to the general public.

 

Cast & Credits

Students LeethSinghage (Kalana),EshaniSeneviratne (Sahani)
  LakshithaEdirisinghe (Arun),
Mother and Daughter Dmitri Gunatilake (Kanthi),DinooWickramage (Charini)
Couple Ashini Fernando (Arukshi),ChalanaWijesuriya (Kishan)
Government Servants JayaviJayawardhana (Hansani), Sabreena Niles (Shriya),
  LithmalJayawardhana (Supun), Gavin Ranasinghe (Manjula)
Opportunists CharithDissanayake, NandunDissanayake
  Pemanthi Fernando,ErajGunawardena
  AyudhyaGajanayake,RithmakaKarunadhara
  ViduraManoratne,MalithKulathilake
  Amandi Kulathilake, Hiruni Herath
Design,Make up &Lights Jayampathi Guruge
Music Composer Ranil Goonewardena
Sound IshtarthaWellaboda
Costume Designer Dinushika Sewwandi
Stage Management Rajitha Hettiarachchi, Rithmaka Karunadhara
   
Playwrights & Directors      Nishantha de Silva
                                                Rajitha Hettiarachchi

                                                                                                           

 Contacts

St. Rita’s Road,

Colombo – 00350

Sri Lanka

M: +94 777268164

E: pem4christ@gmail.com

W: www.anandadrama.org

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All Plays Foreign Plays Russian

DJYRYBYNA, THE WARRIOR WOMAN

Playwright: Prokopiy Yadrikhinsky- Bedjeele
Director: Matrena Kornilova
Group: The Olonkho Theatre, Russia
Language: Russian
Duration: 1 hr 40 mins

 

The Play

Djyrybyna, The Warrior Woman is an ancient Yakut legend about the importance of each thing’s place in our universe. Our universe is composed of three worlds. The lower world is a place where evil spirits live. The middle world is a place for human beings and animals, and the upper world is where our ancestors and good spirits live. There was a baby who was born to be a hero and to defend the people’s world from evil spirits. The lower world stole him and Djyrybyna, who was supposed to become his wife, went through the three worlds, defeated all enemies and obstacles and brought the man back to the people’s world.

 

The Director

Honoured artist of the Republic of Sakha, Marya Vladimirovna Kornilova was born in the city of Yakutsk in a family of actors. In 1985 she graduated from the Yakut Actors Studio at the Moscow Higher Theatre School in M. S. Shchepkina (HEI). Immediately after graduation, she entered the Yakut state theatre P.A.Oyunsky, in the service of which she devoted her entire life and became one of the leading actresses of the main troupe of the Yakut. Her last years were devoted to the revival of Olonkho as an actress, researcher and director of the Theatre of Olonkho. She died in February 2019.

 

 

 

The Group

There are many traditional classical theatres of the peoples of the world such as the Nogaku Theatre (Japan), the Sanskrit Theatre Kutiyattam (India), the Kunqu Opera (China) and others. The Olonkho Theatre is a unique multi-genre phenomenon of theatrical culture aimed at preserving the mythology, and ethical and aesthetical principles of the Yakut people (of Russia). In addition, The Olonkho Theatre meets the requirements of the most demanding audience using modern and high technology. The idea of this project is to promote The Olonkho Theatre as a unique phenomenon of modern culture. Acquaintance with The Olonkho Theatre should prompt ideas on promotion of theatre, on its original function, and the role it should undertake today.

 

Cast & Credits

Narrator Petr Basnaev
Dyrynyba Lena Olenova
Dyrynyba’s Brother Pavel Kolesov
White Female Horse Nyurguyaana Markova
Galloping Horse Valeri Savvinov
Messenger Vladislav Ivanov
Sacred Bird Udaganka Anastasia Alexeeva
Spirit of the Earth mistress Lilia Filippova
Girl from the Middle World Olga Egorova
Shaman from the Lower World Maria Tastygina
Warrior from the Upper World Alexandr Dyatchkovski
Warrior from the Lower World Dmitri Khoyutanov
Upper World Sovereign Dmitri Ivanov
Warrior from the Middle World,  
transformed into a Monster Gavril Menkyarov
National Instruments Player Ivanida Alexeeva
   
Choreography Maria Markova
Text Adaptation Zoya Popova
Set Design Ekaterina Shaposhnikova
Toyuk Coach Dmitri Ivanov
National Rites Consultant Valentin Isakov
Music Innokenti Tytygynaev
Lighting Vitali Vlasov, Andrey Sofronov
Assistant Director Venera Kolesova
Technical Director Innokenti Vasiliev
Costumes Maria Tatarina
Machinist Chief Artem Osipov
Administration Prokopi Ivanov
Producer Rustam Akhmedshin
   
Playwright                                                      Prokopiy Yadrikhinsky- Bedjeele
Director                                                         Matrena Kornilova

Contacts

The Olonkho Theatre

Ordzhonikidze 1, Yakutsk, Saha Republic

Russia- 677000

M: +7 176712592

E: akhmedru@gmail.com

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All Plays English Foreign Plays

CONFERENCE OF THE BIRDS

Playwright: Farid ud Din Attar
Director: Wendy Jehlen
Group: Anikaya, USA
Language: English
Duration: 1 hr 20 mins

 

The Play

Conference of the Birds is an evening-length movement theatre work, conceived and directed by Wendy Jehlen and inspired by the epic poem of Farid ud Din Attar. It is a tale of a group of birds that set off in search of the mythical bird, the Simurgh.  Many of the birds abandon the quest. When the remaining birds arrive in the land of the Simurgh, they find themselves reflected… they are the Simurgh. We use Attar’s text as a frame for narratives gathered from refugees and other migratory people, symbolizing the journey that we, the diversity that is humanity, take together. It is a story of found community, of the necessity of difference. Conference of the Birds has been supported by the Doris Duke Foundation for Islamic Art, The Boston Foundation, Jacob’s Pillow, Arts Emerson, Theatre Communications Group, New Music/USA and National Endowment for the Arts.

 

Director’s Note                                                                                  

Conference of the Birds poses the question:  How can we be different together?  The performance proposes an answer. Anikaya explores this question by translating contemporary migrant stories into dance. In the creation of the work, the company directly engaged with refugee and other migrant communities throughout the creative process. Through a community-based, artist-led process, we have created a framework within which a dynamic evolving presentation can happen – relevant to the moment. Conference of the Birds addresses many narratives at once. It addresses issues pertinent to religious and cultural minorities, gender and sexuality, refugees, and works to counteract xenophobia in its many manifestations – both in content and in the composition of the company. Re-contextualising this classical Sufi text illuminates current moment in history, bringing to full circle the idea that human history is a history of movement, mingling and entanglements.

 

The Director

Wendy Jehlen’s career has been marked by international explorations, study and creative collaboration. Wendy engages in collaborations across languages, culture, media and genres.  Her work questions the boundaries that we imagine between ourselves, and seeks to break down these imagined walls through an embodied practice of radical empathy. Her unique approach to choreography incorporates elements of Bharat Natyam, Odissi, Capoeira, Kalaripayattu, West African dance, Butoh, and a wide-range of contemporary movement forms. Her emotionally powerful choreography has been created and performed in the US, Canada, Italy, India, Japan, Brazil, Benin, Burkina Faso, Botswana, Mali and Turkey. Her works include Delicateness in Times of Brutality (2017), a duet with Deaf Butoh artist Dakei; Entangling (2015), a duet inspired by Quantum Entanglement; The Deep (2015), a work for 25 dancers created in Brazil; Lilith (2013), a solo on the first woman; The Knocking Within (2012), an evening-length duet on a disintegrating relationship; Forest (2010), a journey through the archetypal forest; and He Who Burns (2006).

 

The Poet

Abū Ḥamīd bin Abū Bakr Ibrāhīm, better known by his pen-name Farīd ud-Dīn Aṭṭār, was a Persian poet, theoretician of Sufism, and hagiographer from Nishapur who had an immense and lasting influence on Persian poetry and Sufism. Manṭiq-uṭ-Ṭayr (The Conference of the Birds) and Ilāhī-Nāma (The Book of Divine) are among his most famous works.

 

The Group

Anikaya’s mission is to break down the perceived boundaries between people, cultures and art forms. Our work has so far extended to the US, Benin, Brazil, Burkina Faso, Canada, France, India, Italy, Japan, Korea, Mali and Turkey. Anikaya weaves together music, dance and storytelling to create works that pull from the full range of the body’s communicative capabilities. We incorporate traditional forms, internalizing them and then allowing them to reemerge as part of a new contemporary movement vocabulary. The result is work that is resonant of deep-rooted traditions, without being bound to any particular genre, place or practice. The ensemble includes performers from Benin, Brazil, Egypt, Indonesia, India/South Africa, Japan, Turkey and the US.

 

Cast & Credits

Dancers Ibrahim Abdo (Egypt), Yasin Anar (Turkey), Sarveshan Gangen (South Africa/India), Kae Ishimoto (Japan), Danang Pamungkas (Indonesia), Luciane Ramos da Silva (Brazil)
Music created by Fraction (Eric Raynaud) (France), Shaw Pong Liu (USA), Shaho Andalibi (Iran/Canada), Deraldo Ferreira (Brazil/USA)
Light Design Stephen Petrilli (USA)
Light execution Gregory Casparian (USA)
Projection Design David Bengali (USA)
Calligraphy artist & content consultant Pouya Jahanshahi (Iran/USA)
Director/Choreographer        Wendy Jehlen (USA)

 

                                     

Contacts

Director, Anikaya

67 Dane St., Somerville, Massachusetts,

USA- 002143

M: +1 6178617930

E: wendyjehlen@gmail.com

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All Plays Foreign Plays Russian

THE TROJAN WOMEN

Playwright: Euripides
Director: Vasilisa Tepliakova
Group: Goloborodko’s Workshop, Russia
Language: Russian
Duration: 1 hr

 

The Play

The  play begins with two gods, Athena and Poseidon, descending from the heavens to discuss the aftermath of the war between the invading Greek armies and the people of the city of Troy. Poseidon has supported the Trojans, whereas Athena has supported the Greeks. However, she has now turned against them since the Greek warrior, Ajax, raped the Trojan princess Cassandra in Athena’s temple, which the goddess sees as an act of great disrespect. As a result, she has called on Poseidon, as well as Zeus, to work with her and create stormy seas to punish the Greeks on their journey home. The gods exit, and the mortal plot unfolds. The stage shows a tent with the recently enslaved women of Troy. Hecuba, the former queen of Troy, laments the destruction of her city, and the horrible treatment her family has endured. The Chorus, made up of her former handmaidens and other noble Trojan women, joins her, and together they sing, wondering what will become of them when Greeks will be their masters.

 

Director’s Note

The Trojan Women is based on the play by Euripides with the same title. This performance is an effort to understand tragedy as seen today, and to make the ancient text contemporary, but at the same time trying to keep traditions of ancient tragedy intact. Without the use of any props we are trying to create theatre with bodies, voices and psychological Russian theatre. It is an eclectic production with modern sounds and electric lights but with a deep and tragic soul. We are not trying to make the play’s situation similar to the contemporary problems, but we hope that the audience will create its own associations.

 

The Director

Vasilisa Tepliakova is a young director from Moscow. She graduated and post-graduated from one of the best theatre universities in Russia – GITIS. Nowadays she is working as a teacher and director in the Institute of the Theatre Arts in Moscow. She is a specialist in contemporary theatre with all her performances very different and experimental, not only with regard to the text but with regard to the audience as well. Her performances as a director are Dear Elena Sergeevna (2017), The Slide (Moscow,  2018), The Trojan Women (Yuzhno-Sakhalinsk, 2019), Yerma-Show (Moscow, 2019).

 

The Playwright

Euripides (480 – 406 BC) was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians of whom a significant number of plays have survived. Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances.

 

The Group

Institute of Theatre Arts’ Goloborodko’s Workshop is a group of young actors who are studying in Moscow in the Institute of Theatre Arts. They produce classical performances that are contemporary. The group’s method of acting is based on Stanislavsky’ system, with an attempt to deal with the psychology of the play while keeping it radical and contemporarily aesthetic.

 

Cast & Credit

On Stage                      #Arina Rozhkova, Anastasia Belova, Marina Frolova, Ekaterina Berezina,

#Anna Melnichenko, Olga Bogdanova, Svetlana Kuleshova, Timur Shukshin, #Mikhail Losev, Artem Komlev

 

Light & Sound Oksana Kolesnikova
   
Playwright                  Euripides
Director                      Vasilisa Tepliakova

 

 

 

Contacts

Goloborodko’s Workshop

Botanicheskaya Street, 21, Moscow

Russian Federation, Russia-127427

M: +7 9055427370

E: anyabloggerofficial@gmail.com

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All Plays English Foreign Plays

RICHARD III

Playwright: William Shakespeare
Director: Guy Roberts
Group: Prague Shakespeare Company, Czech Republic
Language: English
Duration: 2 hrs 50 mins

 

The Play

Shakespeare’s conclusion to his epic Wars of the Roses chronicles, Richard III is a riveting portrayal of the politics of power, both personal and political, at their most devious and bloody. Deformed in body and spirit, this depraved madman is obsessed with becoming King of England. Does he fall? Of course, but not before he has taken all of us on his wickedly entertaining ride. Jealous and crippled, Richard of Gloucester murders his brothers, nephews, and any opposition to become King Richard III. In the end, Henry of Richmond raises an army, kills Richard in battle, and becomes King Henry VII.

 

Director’s Note                      

Like Richard eating away at anyone in his path, the play Richard III gnaws on our global consciousness. It is a story that plays out time and time again, and, if anything, has become even more relevant now, over four hundred years after it was written, with corrupt leaders doing absolutely anything to achieve and maintain power. I am excited to present a new production of this timely play supported by the exciting and dynamic multi-national artists we have assembled for this special event. PSC is continental Europe’s only professional English-language Shakespeare company, employing artists from across Europe, Asia and North America, by bringing together a group of artists from many different cultural sensibilities. We are able to come together, united by the words of William Shakespeare, as we explore the deep resonances this play brings out concerning national identity, politicians, corruption, honor, duty and the extreme measures, people – both good and bad, will push themselves to in their ambitious climb to the heights of power.

 

The Director

Guy Roberts is the Founding Artistic Director of Prague Shakespeare Company (PSC). Guy won the 2018 Best Actor Houston Theatre Award for his performance of the Poet in An Iliad. Guy has been awarded the TG Masaryk Medal of Honor from the Masaryk Democratic Movement in recognition for his work promoting arts and artistic freedom, and the inaugural Sidney Berger Award from the Shakespeare Theatre Association in recognition of his outstanding talent and dedication to the works of William Shakespeare. His award-winning work as actor, director and producer has been seen in over 200 productions in the US, Czech Republic, France, the Netherlands, India, Hungary, Austria, Slovakia, Poland, Qatar and Egypt and has been honored with multiple awards and over 100 US theatre award-nominations for Best Actor, Director and Production.

 

The Playwright

William Shakespeare was a renowned English poet, playwright, and actor born in 1564 in Stratford-upon-Avon. Shakespeare was a prolific writer during the Elizabethan and Jacobean ages of British theatre (sometimes called the English Renaissance or the Early Modern Period). Shakespeare’s works include 38 plays, 2 narrative poems, 154 sonnets, and a variety of other poems.

 

The Group

Based in Prague, Czech Republic, the award-winning Prague Shakespeare Company presents professional theatre productions, workshops, and other theatrical events of the highest quality, conducted primarily in English by a multinational ensemble of professional theatre artists, with an emphasis on the plays of William Shakespeare. Celebrating its 12th year, PSC has entertained, enriched, enlightened and inspired students and audiences not only in the Czech Republic but in India, United States, Hungary, France, Egypt, Qatar, Netherlands and elsewhere around the world.

 

Cast & Credits

Richard Duke of Gloucester/King Richard III Guy Roberts
Queen Elizabeth Jessica Boone/Lady Anne Deputy High Commissioner Jan Thompson, OBE
Edward IV Lane Davies
Buckingham Scott Bellefeuille
Richmond/Henry VII Taylor Napier
Clarence/Catesby Jeff Smith
Margaret Abigail Rice
Duchess of York Julie Josephson
Hastings/Lord Chamberlain John Poston
Archbishop Robert Orr
Lord Rivers Dan Brown
Lord Grey Stanislav Callas
Lord Stanley Bob Boudreaux
Tyrrel Vanessa Gendron
Ratcliffe Grant Podelco
Sir Robert Brackenbury/Keeper of the tower David Fisher
Princess Elizabeth Natassia Bustamente
Prince Edward Julian Bellefueille
Light Designer Premysl Janda
Costume Designer Eva Bellefeuille
Hair & Make-up Designer Eva Nyklickova
Stage Manager Eric Sammons
Assistant Stage Manager Kris Ayers
Playwright                                                      William Shakespeare                         
Director                                                          Guy Roberts

                       

 

Contacts

Director, Prague Shakespeare Company

U Havlickovych Sadu 1531/11, Prague 2,

Czech Republic- 120000

M: +420 776469159

E: eric@pragueshakespeare.org

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All Plays Bengali Foreign Plays

MRITYU GHAR

Playwright: Atik Rahman
Director: Mukul Ahmed
Group: Mukul Ghetto Tigers, Bangladesh
Language: Bengali
Duration: 1 hr 5 mins

 

The Play

In this play an hour takes us inside the heads of Asha, Kalpana and Bina as they pit themselves against their torturer, Zafar, who has the power to decide their fate in the jail. Eventually Asha will be placed in a gas chamber. Asha’s resistance and ability to turn the tables on her torturer provide one of the most compelling stories. The central question of the play relates to what someone should sacrifice for their relationships, dignity and political affiliation. Asha’s story is a searing tale of survival as she, along with her fellow prisoners, struggles to hold onto her disintegrating sense of self.

 

Director’s Note

Mrityu Ghar is an adaptation of Dea Loher’s first play Olga’s Room (published in 1992). Dea Loher is one of the most celebrated playwrights of Germany today. Special thanks to Shameem Chawdhury for a fluid translation. I would like to acknowledge the contribution of Atik Rahman for accepting the offer to adapt Olga’s Room into a new play.

 

The Director

Mukul Ahmed grew up in Bangladesh and was taught at home till the age of 10 by his mother. His early memory is filled with ritual festivals, open-air music concerts, chaotic street markets, tropical calamity and community living. The dual heritage and displacement help him being unreasonably optimistic and rationally helpless, someone with love for classics and modernism, rebellion and discipline. He likes to explore the role of arts and imagination in creating new connections between people and the community in order to strengthen participation in community life. In 2007 he completed the Birkbeck MFA Theatre Directing programme. He has since directed a series of classics, new writing and play readings. Mukul has Staff Directed at the National Theatre, England. He is a fellow of the Royal Society of Arts, UK.

 

The Playwright                                                                                                                            

Atik Rahman is a theatre practitioner (performer, script writer and light designer) based in Bangladesh. He completed B.A. (Hons.) and M.A. in Theatre from the Department of Theatre, University of Dhaka, Bangladesh. He has participated in numerous national and international theatre festivals in Bangladesh, India and the UK as actor, designer and musician. He is currently working as a script writer, performer and light designer for Mukul and Ghetto Tigers (Bangladesh), and is also a freelance theatre worker and a performer for ‘theatreX’ in Bangladesh.

 

The Group

Mukul and Ghetto Tigers  is a UK and Bangladesh based theatre company that offers story, relationship and entertainment to the regular and non-theatre going audience. We take genuine interest in new writing and world classics. MGT is a platform for emerging talents. Our aim is to mentor and nurture the new comers and offer them the opportunity to excel in their respective fields. Our mantra is re-imagination, innovation and collaboration. We aim to develop a community-oriented, quality training service in a fun and safe environment by staff committed to continuously developing their skills. We also strive to create new audiences of performing arts from non-theatre going and disadvantaged communities.

 

Cast & Credits

Asha Usha Ganguli
Kalpana Lopamudra Guha Neogi
Beena Swagata Biswas
Zafar Biswajit Das
   
Light Designer Mirza Shahkhesep Sakib
Set Designer Sabiha Ambereen Haque
Sound Designer Tarun Jasani
Sound and Video Projection Operator Atik Rahman
Stage Manager Polash Rahman
Documentation Shishir Karim
Subtitles Shubhaluxmi Mukherjee
Production Manager Tahmina Shaily
Publicity Material Mong Mong Sho
Video Projection Material Shishir Karim, Shishir Imran
Video Performer Novera Yesmin
   
Playwright                                                      Atik Rahman
Director                                                          Mukul Ahmed

 

Contacts

Director, Mukul Ghetto Tigers

Shop No- 125, 253/254 Elephant Road

Emporium, Katabon, Dhara, Bangaladesh

M: +88-0172-0907957

E: mukul_tiger@yahoo.com

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MAHABHOJ

 

Playwright: Mannu Bhandari
Director: Anup Baral
Group: Mandala Theatre, Nepal
Language: Nepali
Duration: 2 hrs 20 mins

 

The Play

Mannu Bhandari tells a story of how politics, press and police are connected with each other, and how the vulnerable voiceless people are caged in a ‘chakravyuha’. She has scripted this play from her popular novel Mahabhoj. The news of a death in the village and violent activities happening around, spread to the city, influencing the media and setting fire in the centre of politics and police force. Will that fire calm down or become a burning coal of questions?

 

Director’s Note

The picture of social and political conflicts experienced by the society should be reflected on the canvas of theatre in a lively way. This is my trust, and that trust has stimulated me to choose Mahabhoj. Politics is one of the finest practices in governance. But, if it is guided by corrupt thoughts, its nexus leads the society towards a weak state. Mahabhoj is the mirror of that corrupt nexus.

This is my ensemble with three generations of artists which I believe has created a new dynamics. I have tried to explore the painting techniques of renaissance period in this play. Chiaroscuro and Sfumato have been used in light design. I wanted to retell the story of Mahabhoj as if we are seeing contemporary events in a historical time frame. Almost monochromatic costumes, sets and props used in the play are a conscious choice.

 

The Director

Anup Baral is a renowned theatre director, actor and concept artist from Nepal. He has a master’s degree in acting from the National School of Drama, New Delhi, India. During his two decade long journey, he has directed and conceptualized more than three dozen plays and performed as an actor too. His strong presence in Nepali theatre has been a source of inspiration for theatre lovers, theatre activists and practitioners.

 

The Playwright

Mannu Bhandari is an Indian author, known for her Hindi novels, Aapka Bunty and Mahabhoj. Bhandari’s works reflect the changing moods of the society, as they shape her writing and subject matter. Modernism, prevailing social issues and transformations, contemporary social situations, daily struggles of an individual have all played a part in impacting and influencing Bhandari’s works.

 

The Group

Mandala Theatre, Nepal is a group committed to develop and practice a creative style that is strongly based on Nepali theatre and culture, as well as deeply rooted in its desire to be a strong and aesthetic voice for social justice, political awareness and human rights. It owns a theatre centre in Anamnagar, Kathmandu where regular theatre shows are staged.

 

Cast & Credit

Atal Singh                                Dayahang Rai / Buddhi Tamang
Ramesh Bikram Ramesh Budhathoki
Bisu Rajan Khatiwada
Rita Chamling Sirjana Subba
Rishikesh Viplob Pratik
Sijapati Bijay Baral
Bhawani Giri Som Nath Khanal
Juddhabir Pradip Kumar Chaudhary
ASI D K Singh Bikash Joshi
Sonam Umesh Tamang
Dinesh Babu Panta Shekhar Chapagain
Katuwal Ghanashyam Joshi
Sapana/Villager Sapana Chaudhary
Jamuna Sushma Niraula
Gauri/DIG’s Wife Pramila Khanal
Rushma Ranjana Oli
Head Constable/Villager Sagar Dahal
Tirthe Kailo/Villager Arjesh Regmi
Jogeshwar/Villager Sabin Ghalan
Binod Milan Karki
DIG Raj Neupane
Shambhu/Villager C K Bista
Hira/Villager Devin Chaudhary
Mohan Singh/Villager Kabiraj Rai
Mahesh Sandeep Shrestha
Narayan/Villager Rijan Pariyar
   
Music Director Utsav Budhathoki
Sound Craft Dev Neupane
Sound Operator Chhejing Bhotia
Light Designer Umesh Tamang
Light Operator Vijaya Karki
Multimedia Operator Sachin Lama
Choreography Deeya Maskey
Set Designer Bimal Subedi
Set Constructers Hum B C/Johnen Kshetri
Set Painting Bikash Tamakhu/Sanisa Makaju
Costume Designer Arpana Nagarkoti/Sunu Rai
Poster Sketch Anamika Gautam
Graphic Designer Siddhanta Pudasaini
Photographer Nabin Babu Gurung
Videography Foto Crystal
Social Media Sagar Prasain
Box Office Nabina Aryal
Finance Govind Parajuli/Santosh Ghimire
Backstage Volunteers Abhishek Sharma/Deenju Karki/Sanjay Gupta
Stage Manager Bijay Baral/Rijan Pariyar
Production Designer Dev Neupane
Assistant Director Som Nath Khanal
Script Translator/Lyrics Viplob Pratik
   
Playwright                              Mannu Bhandari
Director                                  Anup Baral

 

Contacts                                                                     

Director, Mandala Theatre

Anamnagar-32, Kathmandu

Nepal- 044600

M: +977 15705761, 9849296461

E: program@mandalatheatre.com

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LIVE NUKES!

Directors: Kevin Duvall & Taylor Brewerton
Group: The Central Scrutinizers, USA
Language: English
Duration: 1 hr

 

 

 

The Play

When two boorish government lackeys working in a nuclear facility accidentally launch a nuclear weapon into the stratosphere, the chase is on! The mismatched duo’s quest to save the world from nuclear annihilation hurls them from a decrepit bunker, down a sketchy roadside, through the clouds, and down to the very depths of Hell itself. Their journey, of course, culminates in a valiant duel against the king of demons. This critically-renowned screwball comedy has toured across America in 2019, and has been hailed as a “master-class in mime and physical comedy”. Live Nukes! is a truly international play, performed without the use of props, set, or real words of any kind!

 

Director’s Note

We believe that theatre can be a universal art form. When we began working on what would become Live Nukes!, we set a few strict rules for ourselves in the hope of creating a performance which could be enjoyed by anyone, regardless of their native language or national origin.  The rules were as follows: no props, no set, and no real words. Chicago is a city of immigrants, and in order to bridge the real gap that exists between the theatre community and Chicago’s very diverse population, we needed to make a comedy which transcended language and culture. In the spirit of silent cinema, tinted with the apocalyptic concerns of our contemporary political climate, we devised a play which, we hope, will poke fun at our increasingly-grim global outlook.

 

The Directors

Kevin Duvall and Taylor Brewerton are a physical theatre duo who have been collaborating as actors, directors, and writers for over a decade. Together they have developed work in myriad theatrical forms, from a devised farce, to an adaptation of Salman Rushdie’s short story The Prophet’s Hair, the high tragedies of Shakespeare and Euripides, environmentalist game shows, and beyond. They have performed at many venues across the United States and Canada. Kevin and Taylor both hold Masters from the Dell’Arte International School of Physical Theatre. They are honoured to be given the opportunity to present their wordless, absurdist pantomime Live Nukes! at the Bharat Rang Mahotsav.

 

The Group

The Central Scrutinizers is not a theatre group in the traditional sense, but is an ensemble of a duo, Kevin Duvall and Taylor Brewerton who collaborate on script, performance and direction.

 

Cast & Credits

Performers & Directors                                 Kevin Duvall & Taylor Brewerton

 

 

Contacts

The Central Scrutinizers

1517 W Hollywood Ave, Chicago, IL

United States- 60660

M: +1 8048373327

E: livenukeslivenukes@gmail.com

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KUMARI AND THE BEAST

Playwright & Director: Kavita Srinivasan
Group: Sushila Arts Academy, Nepal
Language: English
Duration: 1hr 10mins

 

 

The Play

Satya Yuga (era of truth) was an era when gods, demons and humans cohabited the earth. Set in this time is the story of goddess Kumari who came to rule the kingdom of Kathmandu. The legend describes a young goddess Kumari, born to the gods Svet-Kali and Svet-Bhairav in the neighbourhood of Nardevi in ancient Kathmandu. To their alarm, she falls in love with an asura (demon), Chanda. Their tumultuous love story ends tragically, as Kumari ultimately sacrifices her love to in order to fulfil her duty. Her parents in return, make her the ruler of Kathmandu.

Kumari and the Beast is an interpretation of the story told by Maheswor Juju Rajopadhyay in his book of short stories Nepali Adhyaatma Jagat ko Itihas (History of Nepal’s Spiritual World). The story is presented through a fusion of Nepal’s classical Charya dance and contemporary dance-movement, with live music and vintage photography.

 

Director’s Note

Three things attracted me to this story: First, the story provides a fascinating role model of how a female child can hold one of the highest positions of social and political power, and can remain unmarried of her own will. In a world where power has been known for eons to be held by the senior-most male, the relevance of such a figure is immense.

Second, the story’s central theme of ‘forbidden love’ remains as relevant today as it was ages ago. Society’s condemnation of certain kinds of love based on caste, creed, gender, race etc. continues to trample on the fundamental right to choose.

Last, the sacrifice of the beast is symbolic of the price that society extracts from each of us.

 

The Director & Playwright

Kavita Srinivasan has focused on stories of culturally iconic figures like Gautama Buddha and Goddess Kumari, reinterpreting and telling their stories in a way that fuses the classic and the contemporary, focusing on the human element, through movement, dance, music, theatre and visual art. She also created Nepal’s first online sitcom P.S. Zindagi (Post Seismic Zindagi) which won local and international recognition. Kavita has done two Masters – in Architecture, and in City Planning – from the Massachusetts Institute of Technology (MIT, USA).

 

The Group

Sushila Arts Academy (SAA) is a theatre dance music and arts institution in Kathmandu, Nepal founded in 2012 with the aim to promote the Arts in Nepal. Since its establishment, it has been providing hundreds of scholarship seats to talented but financially limited or underprivileged Nepali students. The Academy has delivered numerous musical and theatre-dance productions, art exhibitions, shows and various art programs, all aimed at promotion of the arts in Nepal, as well as giving a platform to young, talented Nepali artists to flourish further.

 

Cast & Credits

Kumari Kripa Bajracharya
Chanda Kiran Shrestha
Svet-Bhairav Sudan Munikar
Svet-Kali Vijaya Karki
Representation of Kumari’s feelings Arpana Lama, Glory Thapa, Sunita Darnal
Representation of Chanda’s feelings Srijan Bhattarai, Jerox Chaudhari, Nikesh Raj Chaudhary

 

Charya Dance Choreographer Sudan Munikar, Kripa Bajracharya
Musicians Chandra Man Shrestha (Drums, Percussion and effects),
  Prabesh Maharjan (Percussion and effects),
  Saroj Shahi (Guitar and effects),
  Rupesh Shakya (Flute, horn and effects)
Original Music and Sound Effects Dimitris Giannopoulos
Recorded Music Various Sources
Narration Kavita Srinivasan
Costume Designer Sammriddhi Mittal, Samita Kapali
Beast Make-up Sunita Darnal, materials from Aesthete Studio
Lights Dinesh Tuladhar
Sound Tuphan Thapa
Smoke/Projection Kanchan Pandey
Black and White Photographs Kiran Chitrakar (Poster), Dominic Sansoni, GTZ,
  A. Proksh, AFP, Ian Trower and others
Publicity Stills Avishesh Raj Maskey, Shilu Jain
Behind the Scenes Photographs Suman Nagarkoti
Production Stills Bijay Tamrakar
Truss Thermacol  Set Binod Pokharel (Stage Mind)
Producer Sushila Arts Academy
Assistant Director /Stage Manager Vijaya Karki

Special Thanks                                    Jagannath Dhaugoda (Djimbe), Brikchya Band (Khen, Dhimey,   Taa, Ghungro), Shree Guru Nitya Baja Khala (Dhime, Taa, Bapucha, Bhusya), Vajra Kala Kunja (Charya music and costume support), Swarnim Maharjan (Flute Melody concept tips), Pawan R. Joshi (Projections)

 

Story                                                   Maheshwor Juju Rajopadhyay
Playwright & Director                                   Kavita Srinivasan

 

Contacts

Director, Sushila Arts Academy

KMC-Ward No. 3 Lohasal,

Maharajgunj, Kathmandu- 044600

M: +977 9803791540

E: kavita.srinivasan@gmail.com