Indian Plays

SAVE_20191114_204834
All Plays Indian Plays Malayalam

MALI

Playwrights: Nikhildas Puranattukara & Sagar Sathyan
Director: Nikhildas Puranattukara
Group: Punchami Theatres, Thrissur
Language: Malayalam
Duration: 1 hr 15 mins

 

The Play

Mali is based on the folk culture of Kerala, as told through the songs and tale of the hero and the imaginary god Ayyappan. It begins with the description of a girl named Mali, and Chappan, a fighter who grew up in the jungle to defeat the hiding forces called Maravippada. Chappan learns the tactics and expertise from Vithari Mooppan and fights against Maravippada. He goes to meet his beloved Mali, but Mali asks him to come later since she is menstruating and therefore prohibited to meet anyone. Chappan is upset about this discrimination and tells her that now he will return for her only when the society gives up all such beliefs. Mali awaits his arrival, and when he doesn’t return, breaks away from all social taboos and restrictions and leaves home to enter the forest to find her love.

 

Director’s Note

The play begins with the resistance of people towards outside forces. A number of contemporary questions have been dealt with in this play, especially the ones dealing with discrimination. Why can’t a warrior have a spiritual quest? Is the reason to create superstitions and customs a deliberate attempt to keep them subdued and at a distance? The play is based on folk tales and folk songs heard from the dalits of Sabarimala Sasthav, popular in Kerala. Live music related to Ayyappan is incorporated into the play.

 

The Director & Playwright

Nikhildas Puranattukara has received the Kerala Sangeetha Nataka Academy Award for Best Director and Writer in 2019 for the play Mali. His children’s plays have won accolades at the Kerala state youth festival during the last three years. Nikhildas has staged plays at national and international platforms like National School of Drama Theatre Festival, International Theatre Festival of Kerala, Bharat Rang Mahotsav, Rangayan Festival, Cuttack National Theatre Festival etc. He has adapted renowned writer Uroob’s celebrated work Neelakuyil into a play. He was the director of Lavettam theatre camp in Perth, Australia; and Kalithattu theatre camp in Bombay. He is associated with Thrissur based theatre group Rangachetana and his own theatre group Punchami theatres. Some of his popular productions are Marathalayan, Manabave, Kunnukalkkumappuram, Palaharapanthayam, Markkadapuranam etc.

 

The Co-Playwright

Sagar Sathyan has been active in cinema and theatre for the past few years and has made remarkable contributions to both. He has been a part of Rangachetana, a well-known theatre group in Thrissur, and has written four plays directed by Nikhildas Puranattukara. Sagar has also written the script of a Malayalam feature film Ladoo which was released last year.

 

The Group

Punchami Theatres is a group of young people who have been studying drama and are engaged in theatre activities. Everyone in the group finds time for theatrical work while practicing his/her routine work. Mali is the first theatre project of Panchami Theatres. It won the Best Play award at the Kerala Sangeet Natak Academy’s amateur drama competition, and also the Best Actress, Best Director and Best Writing awards. A number of colleges of Kerala participate in theatre activities under the banner of Panchami Theatres. The centre of the group is in Adat, a village in Thrissur district of Kerala.

 

Cast & Credits

Mali Athira
Karuthi Anusha Bahuleyan
Mahishi Mekha Manoj
Chappan Anand
Vithari Mooppan Sathyajith
Kandan Ramkumar
Kormi Akhilesh Paliyan
Rajavu Ramadas
Vendoran Sajith Alukkal
Villan Appu K.G
Kadutha Athul
Mallan Kiran
Karuppan Abhishek
Moothoru Henson
Kappatharu Josprakash
Vaidhyar Vishnu
Padayali Ramesh Ramakrishnan
   
Light Dhaneshkumar
Art Shinoj Asokan
Co-ordinator Mejo
Music Midhun Malayalam
Instruments Manikandan
Make-up Francis Chirayath
Costumes Anjali Raman, Leela Sathyan
Light Assistant Gokul
Art Assistant Mornima Dhanesh
Assistant Director Nijildas
   
   
Playwrights                 Nikhildas Puranattukara, Sagar Sathyan
Director                      Nikhildas Puranattukara

 Contacts

Punchami Theatres

Adat, P.O Thrissur, Kerala 680551

M: +91 9745260825, 9946302016

E: punchamitheaters@gmail.com

_SHA2713
All Plays Hindi Indian Plays

KUSUR (THE MISTAKE)

Based on Danish film Den Skyldige

Written by Gustav Moller & Emil N Andersen

 

 

 

Playwright: Sandhya Gokhale
Directors: Amol Palekar & Sandhya Gokhale
Group: Annan Nirmitee, Pune
Language: Hindi
Duration: 1 hr 20 mins

 

The Play

It all begins on a rainy night… when retired Assistant Police Commissioner Dandavate volunteers his service at a police control room. As the hours go by, anonymous residents of Mumbai seek help. The night presents us with a series of twists and turns, and the end unearths the truth in a way that leaves us holding our breath. When Dandavate exits the control room, he says, “I’m indebted to this night… Good intentions alone don’t absolve us of our sins. Thank you Kaveri for helping me realize this!”

The taut plot with its minimalist setting gradually unravels this mystery. The elaborate sound design is a vital character in itself, disturbing our complacency and overturning our assumptions. While excavating the rich subtext, the audience isn’t permitted to be a mere distant, passive onlooker.

 

Directors’ Note

In the past we had adapted a play for a feature film; with Kusur the challenge was reverse! To extrapolate the subtext through the protagonist’s exasperated responses to the numerous calls was a challenge. To transcend the realistic visual frames while recreating the claustrophobia on stage was yet another challenge. Kusur depicts a graph of a melting man who stirs our faith in humanity. We wanted this to be a claustrophobic and thrilling, yet emotional and immersive journey. Hope this theatrical experience is one to linger on, way beyond the curtain drop.

 

The Director

Amol Palekar is an Indian actor, director and producer of Hindi and Marathi cinema. He studied fine arts at Sir JJ School of Arts, Mumbai, and commenced his artistic career as a painter. He has been active in the avant-garde Marathi and Hindi theatre in India as an actor, director and producer since 1967. His contribution to the modern Indian theatre is often overshadowed by his popularity as a lead actor in Hindi films. Amol Palekar began in Marathi experimental theatre with Satyadev Dubey, and later started his own group, Aniket, in 1972. He is returning to stage with this production after a long gap of 25 years.

 

Playwright’s Note

As a writer I felt compelled to share the inner suffocating anxiety that is increasing day-by-day. The hidden skeletons of prejudices are being flaunted boorishly; the face of humanity is evaporating; violent discourse is ubiquitous. Kusur offered me the avenue to seek redemption for the cumulative corrosive malice. My attempt to peel off our contemporary facade defines the contours of this social thriller.

The Playwright & Co-director

Sandhya Gokhale, a lawyer by profession, has written about eight scripts with dialogues for nationally and internationally acclaimed films such as Anaahat, Paheli, Dhoosar to name a few. Sandhya also designs costumes and sets for films. Her contemporary sensibilities and aesthetics make a mark through her thematic as well as visual presentation. Her scholarly pursuits in the field of Hindustani classical music get reflected through the sound tracks of the projects she is involved in. She has co-directed the documentary Bhinna Shadja (Note Extraordinaire) on Gaansaraswati Kishori Amonkar. Kusur is her gift to her husband, Amol Palekar, on completing 75 years on November 24, 2019, when the play premiered at NCPA, Mumbai.

 

 

The Group

Annan Nirmitee is a Pune based very young theatre group, founded by veteran Indian theatre and cinema actor-director Amol Palekar along with his writer-director wife Sandhya Gokhale and few like-minded friends. Kusur is its maiden production which opened on 24th November 2019.

Cast & Credits

On Stage Amol Palekar
  Naresh Suri
  Sidhdhesh Dhuri
  Ashwini Paranjape
  Prita Mathur Thakur
  Ashish Mehta
  Neel Chapekar
   
Sound Design Mandar Kamalapulkar
Audio Execution Pratik Yadav, Marzban Irani
Light Design Harsha Pathak
Set & Costume Design Sandhya Gokhale
Set Realization Bhola Sharma
Production Design Sandhya Gokhale
   
Playwright                                            Sandhya Gokhale
Directors                                               Amol Palekar & Sandhya Gokhale
   

 

Contacts

Anaan Nirmitee

302 Ishkripa, 10th Lane Prabhat Road,

Pune – 411004

M: +91 9890997977

E: palekaramol11@gmail.com

sandhyago@gmail.com

 

 

(66)
All Plays Bengali Indian Plays

GHORAMUKHO PALA (THE HORSE-FACED OPERA)

Playwright: Girish Karnad
Director: Sanjib Ray
Group: Kathakriti, Kolkata
Language: Bengali
Duration: 2 hrs 20 mins

 

The Play

Kapil and Devdutta of Dharmapur are the heroes of our play. One comes from a Brahmin family and the other is a blacksmith’s son. Devdutta falls in love with the daughter of a gold-merchant, Padmini. He vows that if he marries Padmini, he would sacrifice his hands to Ma Kali, and his head to Rudra Dev. Eventually, Devdutta marries Padmini. They visit Ujjayini when Padmini is pregnant. Devdutta becomes furious when he discovers the intimacy between Kapil and Padmini. Sending Kapil and Padmini to the Rudra temple, he goes to the Kali temple and cuts his head off near the feet of Ma Kali. When Kapil returns, he sacrifices his life seeing his friend lying beheaded. Padmini too moves to do the same but Goddess Kali appears and stops her. Abiding by the direction of the goddess, she fixes the heads of Kapil and Devdutta, but on each other’s body. Although the two friends are offered life again by the grace of Ma, their heads are transposed…

 

Director’s Note

In 1972, Girish Karnad himself translated his play Hayavadana from Kannada into English in the eminent Theatre Journal Enact. The director of the Bengali theatre troupe Nakshatra, Shri Shyamal Ghosh requested the poet and litterateur Shri Shankha Ghosh to translate the play into Bengali at the earliest as the group was determined to stage it as their next production. Unfortunately, it was never performed by the group. Shyamal Ghosh before his demise entrusted Kathakriti to perform this play and it was revised by poet Shankha Ghosh. The present project is thus a modest endeavour of Kathakriti to accomplish the unfulfilled dream of Late Shyamal Ghosh, their preceptor.

 

The Director

Sanjib Ray, a retired Senior Manager in Allahabad Bank, has directed 9 one-act and 19 full-length plays for Kathakriti. He joined Nakshatra in 1967 and worked with legends like Shyamal Ghosh, Mohit Chattopadhyay, Mamata Chattopadhyay and Navendu Sen; and later worked under the direction of Jnanesh Mukherjee and Sohag Sen. Sanjib joined the drama section of Yuvavani under Akashvani as a news reader, actor, producer and reciter in 1969. He actively participated in audio plays by Akashvani commercial broadcasting. In 1989, he formed his own group Kathakriti and has remained its President-Director. He has also been the chief editor of Kathakriti Natyapatra since its inception. He was awarded the Dishari Purashkar as Best Director twice and the Ritwick Ghatak Memorial Award also as Best Director.

Recently a book, narrating his tireless journey in theatre for the last 50 years, was published and unveiled by eminent actress Smt. Maya Ghosh. At the book launch a number of eminent personalities spoke on his excellence and benevolence.

 

The Playwright

Girish Karnad (May 19, 1938 – June 10, 2019) was an Indian playwright, author, actor, and film director whose movies and plays, written largely in Kannada, explore the present by way of the past.

 

The Group

Kathakriti has staged 9 short plays and 19 full-length plays till date under the direction of Shri Sanjib Ray. Kathakriti has also initiated audio plays, workshops and seminars on theatre, in different schools and colleges. It has also performed during the Swachh Bharat Abhiyaan under the Central Ministry. Since its inception, Kathakriti holds a drama festival every year on the occasion of its birthday. The publication Kathakriti Natyapatra is also an asset for drama enthusiasts.

 

Cast & Credits

On Stage Sanjib Ray, Ashok Ganguly, Nabanita Mukherjee Das, Shambhu Nath Shaw, Dipankar Haider, Bindia Ghosh, Kinjal Nanda, Parijat Das
Dance & Chorus Jayanta Ghosh, Shraddha Chanda, Poulami Bag,
Barnamala Chatterjee, Sayani Roy, Chowdhury Laboni Sarkar,  
Mithun Gupta  
Singers & Accompanists Shubhadeep Guha,  Sushruta Goswami, Pritam Ghosh, Shubhajit Dev, Susmita Sarma, Jayanta Saha
Set Chanchal Haider
Light & Accompanists Dipankar Dey, Ashim Das, Arup Das
Make-up Biswajit Haldar
Backstage Management Sourav Chatterjee, Bapi Sarkar, Arup Kumar Deb
Team Leader Debasish Naskar
Playwright                              Girish Karnad
Director                                  Sanjib Ray

 

Contacts

Director, Kathakriti

TG 2/10, Teghoria

Kolkata- 700157

Ph: (033) 24260404

M: +91 9836444886

E: tgkathakriti@gmail.com

IMG_1378
All Plays Bengali Indian Plays

GEET GOBINDO

 

Playwright& Director: Kingsuk Bandyopadhyay
Group: Kolkata Creative Art Performers, Kolkata
Language: Bengali
Duration: 1 hr 45 mins

 

The Play

Baba Thakur, who believes in humanity, finds a six-month old baby-boy and Raghu- a bohurupee (folk artist), on the same day. He names the boy Gobindo and establishes an ashram, Satyashanti Dham on the banks of a picturesque river, Ajay. Frequented mostly by those who have been either marginalized by their families or the society, it becomes an abode of hope, love, peace, music, laughter and happiness that inter-twines them into a single thread. Prayers of all religions are observed during meditation. An administrator, Brajonath (Braja) is a confidant of Baba Thakur. Gobindo leaves for a countrywide tour for a period of three years to experience the world. Meanwhile Geet (Ayesha), shunned by her husband for being a music lover, takes refuge in the ashram. On returning, Gobindo develops a special friendship with Geet that is quite apparent to all, , which, Geet very beautifully describes as purely plutonic and is confident that it will not disturb the fabric of the ashram. Braja is not convinced of it and Gobindo doesn’t accept it to be just that. Baba Thakur tries to resolve the issue, but it takes a horrific turn due to Braja’s overt interference.

 

Director’s Note

Geet Gobindo is an opinion, a chetavani that the time has come for – being human! With the advent of the microchip, access to information and communication has become extremely efficient and easy. The story of Geet Gobindo is an age old concept; a pathway of how to remain humane and the beauty of it is that it is already so well-known to us, the homo-sapiens commonly called human beings! Unfortunately, though time-tested, such renderings which propagates qualities or good practices like balanced faith based habits, ahimsa, humility, being generous are like coffee-table glossy publications; it feels great to just flip through them but not adopt them as our user-guide! Woven with Bengal’s lilting folk music forms, Geet Gobindo is intended to be like a whiff of fresh unpolluted air to oxygen-starved people gasping to breathe normally – for being human…

 

The Director & Playwright

A first class postgraduate from Rabindra Bharati University in direction, Kingsuk Bandyopadhyay has done a 5 years training course in mime. He was a resource person for a theatre workshop in Sikkim. He has also participated in an intensive theatre workshop of NSD. He has been instrumental in the formation of approximately 30 theatre self-help groups in rural West Bengal and has worked with prostitutes, destitute and children as a therapy to their mental health difficulties with the help of theatre. Kingsuk has written 23 full-length and 11 short plays, and directed more than 25 productions. He has been awarded for his achievements as a young talented director/actor/writer. He has received recognition from the Kolkata Police, Minerva Repertory and Dishari, for his production Banglar Mukh.

 

The Group

Kolkata Creative Art Performers began its theatre journey in 2001. Since then it has been promoting proscenium and street theatre along with drama workshops. ‘Let’s Change’ is its initiative for socio-mental development of school children of Kolkata. The group has performed at the East Zone Cultural Center, 18th Bharat Rang Mahotsav and Theatre Olympics at the National School of Drama. The group organises an annual ticketed Bango Natya Utsav. A part of the proceeds are reserved for medical insurance for needy artists in case of medical emergencies.

 

Cast & Credits

Baba Thakur Prasun Bandyopadhyay
Raghu Anupam Mukherjee
Brajonath Tonmoy Sarkar
Gobindo Rakesh Kumar Sen
Sumangal Rakesh Mandal
Suman Kingsuk Bandyopadhyay
Jagannath Soumyo Chatterjee
Badal Arijit Ghosh
Ghosai Tonmay Biswas
Sushanta Sushanta Manna
Ramendra Ramendranath Roy
Student Sourojyoti Bandyopadhyay
Bithi Shila Chakraborty
Prova Anamika Dhar
Biraj Kabya Kashyap
Malini Lilima Biswas
Geet Soumita Banerjee
Music Composition Tanmay Biswas
Light Operation Sentu-Kartick
Make-up Sukhendu Bhandari
Costume Making Anamika Dhar
Music Operation Sanjib Ghosh
Set Design & Calligraphy Sanjay Sarkar
Set Making Udai Gyne
Back Stage                               Sushil Krishna Sen, Tanmoy Dutta
Management                            Siba Prasad Das
Playwright & Director                       Kingsuk Bandyopadhyay

 

Contacts

Kolkata Creative Art Performers

Subhas Palli, Madhyamgram Bazar,

Kolkata- 700130, West Bengal

M: +91 9830043568, 9830317809

E: kolkatacaps@gmail.com

Ek Zunj Varyashi 4
All Plays Indian Plays Marathi

EK ZUNJ VARYASHI

Playwright: P. L. Deshpande
Director: Shriniwas Narwekar
Group: Vision, Mumbai
Language: Marathi
Duration: 2 hrs 30 mins

 

The Play

Ek Zunj Varyashi (A fight with the wind) is a critically acclaimed play. An anonymous common man seeks an appointment of a minister and point blank demands his resignation with supportive evidences, for the injustice done with some other person. Arguments, cross-arguments between them leads the main body of this classic play, whose soul being the machination of political & bureaucratic system, highlighting the destructive characteristic of human nature. It is an adaptation of Russian playwright Vladen Dozortsev’s The Last Appointment adapted by legendary Marathi playwright P. L. Deshpande.

 

Director’s Note

The original play, written 40 years back, reflects the socio-political conditions which have remained the same all these years. The reason why I chose to perform and direct it is its timeliness. The past tendencies remain unchanged in the present. Secondly, this is a real time performance. The duration of the events that take place is equal to the duration of the play! It is a challenge and privilege to convey its meaning through performance.

 

The Director

Born in Mumbai, Shriniwas Narwekar’s accomplishments, participation and activism span across arts, literature, journalism and cinema for last 29 years. He is a playwright, story writer, screenplay writer-director, translator, copy-writer, columnist, and satirist. He delivers lectures in theatre and film workshops on voice-culture, movement, film appreciation, script and story writing. He has also been writing short stories, satirical columns, articles in various newspapers, focusing on contemporary issues. Shriniwas has been felicitated with various awards for his contribution in these fields. He was a member of an advisory committee (Drama) of Goa Kala Academy and visiting faculty for Academy of Theatre Arts at University of Mumbai.

 

The Playwright

Purushottam Lakshman Deshpande, popularly known as ‘P. L. Deshpande’ or ‘Pu La’ was a Marathi writer and humourist from Maharashtra. He was also an accomplished film and stage actor, script writer, author, composer, musician, singer and orator. His works have been translated into many languages. He was particularly well-known for his humourist literature. He produced several original works and also adapted prominent literary works from other languages into Marathi. He has a versatile literary repertoire of more than 90 books that include drama, essays, stories, profiles, films, travelogues, biographies, one-act plays and children’s plays. He is called a pioneer of one-man stage shows. The play Ek Zunj Varyashi is an adaptation of The Last Appointment by Soviet playwright Vladlen Dozortsev. The latter was an activist author. His works contend with the prevailing socio-political culture and transitions in Soviet Russia. This particular play was written in the crucial upheavals of Perestroika, Russia.

 

The Group

Vision, Mumbai is an amateur group active since 2015, and is an offspring of the group Natya Vilas which has been active since last 25 years. It is the group’s innovative vision that propels literature and theatre-based projects. The group has won several competitions. It has produced one and two-act plays. To be precise, Vision is based on a movement that keeps theatre and literature alive, lively and kicking.

 

Cast & Credits

Dr. Deshmukh Deepak Karanjikar
Dr. Choudhary Ashutosh Ghorpade
A Common Man Shriniwas Narwekar
Chitra Shobhana Mayekar
   
Set Baba Parsekar
Lights Siddhesh Nandlaskar
Make-up Ulesh Khandare
Costumes Shriniwas Narwekar
Music Operator Abhilesh Sarpadwal, Sagar Pawar
Backstage Management Prasad Sawardekar, Deepak Joil, Ninad Panchal
Set Management Satish Kalbande
Calligraphy Sunil Devlekar
Manager Rakesh Talgaonkar
Production Controller Nishant Ghatge
Producer Shriniwas Narwekar
   
Marathi Adaptation                           P. L. Deshpande
Direction & Background Score Shriniwas Narwekar 

   

Contacts

Vision, Mumbai

Birje House, Gr. Floor,

Prof. V.S Agashe Path,

S Gokhale Road (S), Dadar (West)

Mumbai- 400 0285

Ph: 022-24212958

M: +91 9322492630, 9594191198

E: shriniwasnarwekar@gmail.com,

visionvoicenact@gmail.com

3395
All Plays Indian Plays Odia

DASHAVATARA

Playwright: Sankar Prasad Tripathy
Director: Dhira Mallick
Group: Satabdira Kalakar, Bhubaneswar
Language: Odiya
Duration: 1 hr 35 mins

 

 

 

The Play

The ten incarnations of Lord Vishnu, descend to earth to save the innocent people from the oppression of demons and to establish Manaba Dharma. As Kachhap Avatar (Tortoise), Lord Vishnu helps to churn the Milk Ocean (Khirasindhu), and as Buddha Avatar, Vishnu teaches selflessness. The tenth Avatar, Kalki, is yet to come. It is said that when injustice, indiscipline and oppression by those in power over the weaker, goes beyond tolerance, Lord Vishnu will appear as Kalki, to punish all these sinners. The play uses popular folk forms like Pala, Daskathia, Chhau, Kathak and other traditional forms. The play depicts the development of human beings from the primitive age to the present day society. The incarnation of Lord Vishnu plays its role to save the society and the mankind, as narrated by the Sutradhar ‘Pala Gayak’. This stylised production with folk arts makes the play more interesting and attractive.

 

Director’s Note

The play Dashavatara appealed to me for its moral value and useful message. The play has colourful visuals, traditional, classical and folk dance & music. Dances like Chhau, Odissi, Dandanaacha and folk music have been blended for a unique experience. The choreography and aesthetics of the production help in conveying the message to the society effectively.

 

The Director

Dhira Mallick, graduated in Acting from Utkal Sangeet Mahavidyalaya in 1976. He participated in a month long Directors’ Workshop in Mumbai in 1995, organised by National Sangeet Natak Akademi where directors like Kanheiyalal, N. Muthuswamy, Anuradha Kapoor, Vijaya Mehta, Naseeruddin Shah, Amol Palekar etc. imparted training. Shri Mallick has acted in more than 120 plays and directed about 150 plays, which have been staged across the country. His plays have participated in many National level festivals like Spring Festival, Rangsangam, organised by National Sangeet Natak Akademi at Mumbai and Ahmedabad respectively. One of his plays was staged at National School of Drama for students and faculty in 1980 and also in 19th Bharat Rang Mahotsav. He has also participated in other festivals like Nandikar festival, Disari Festival, EZCC Festivals, NZCC Festivals etc. held at various part of the country. In 1988 he participated in the festival of India in USSR as a troupe leader. A recipient of Odisha Sangeet Natak Akademi Award and felicitated by many organisations of the State, he has worked as Secretary, Odisha Sangeet Natak Akademi and founder Secretary, Odisha Natya Sangha. He is the General Secretary and Principal of Satabdira Kalakar School of Acting.

 

The Playwright

Sankar Prasad Tripathy is a well-known Odia Playwright. His plays are mostly staged by eminent directors and groups of Odisha. Out of his 20 plays, 15 plays have been published. Four of these published in English are Behind the shadows, Spear of Hope, Purushottam and Frienimal. He has been awarded by Odisha Sangeet Natak Akademi, Odisha Sahitya Akademi and many other cultural organisations of Odisha and outside.

 

The Group

Satabdira Kalakar, a cultural institution, was established in 1976 in the temple city of Bhubaneshwar.

Besides Orissa, the group has performed in New Delhi (NSD), Guwahati, Kolkata, Lucknow, Allahabad, Shanti Niketan, Mumbai, Chennai, Ahmedabad etc. The group has staged around 150 plays of noted playwrights.

 

 

Cast & Credits

Pala Gayak Bidhanshu, Roshan  
Palia (Repeaters) Apurba, Soumya, Ashok, Biswajit, Subham, Manoj  
Badak (Rhythm Player) Satya, Prakash  
Hiranakhya, Hiranyakashipu, Parsuram, Balaram etc. Alok  
Brahma/ Sukracharya/ Dasarath Soumendra  
Varaha/ Bamana/ Jamadagni Santosh  
Durbasha Kartik  
Narayan/ Matsya Avatar Manas  
Duryodhan, Ravana, Sahashrajun Subhasis  
Indra/ Buddha/ Ramachandra Bharat.  
Renuka, Kaikei Monideepa  
Nartaki, Sita Priyanka  
Prahallad Asha  
 

 

Music

   

 

Pratap Rout

Light   Darpanarayan Sethi
Make-up   Narendra Senapati
Costume   Kartik Sahoo
Set/ Property   Sangram Moharana
Playwright                                                         Shankar Tripathy
Director                                                                    Dhira Mallick

 

Contacts

Dhira Mallick

Director, Satabdira Kalakar

HIG-27 (faere) H.B. colony

Phase- 1-C.S. Pwe Bhubaneswar

Odisha -751016

M: 0674-2440666, 9437292472

E: dhira.mallick@gmail.com

Satabdirakalakar-@gmail.com

D3
All Plays Hindi Indian Plays

DARAREN

Playwright & Director: Vikas Bahari
Group: Prism Theatre Society, Delhi
Language: Hindi
Duration: 1 hr 30 mins

 

The Play

A typical Indian family is struggling to make ends meet. Everyday arguments turn into a mysterious drama when there is a robbery in the house. There are many suspects from outside the family, but there is more to this than meets the eye. Do you have Sherlock’s instinct in you to figure out who created the mess?  Is there anyone inside the house who could be involved?

 

Director’s Note

I’ve always had a curiosity, a wonder, and an inclination, not about the end of a story but how it actually reached the end. What relationships, what moments, what ups and downs and what problems went into achieving that climax. And more than that, what I’m forced to think is whether the story selects an end for itself or is it in control of the writer. From script to stage, this story has touched so many lives including mine and of the actors portraying the story on stage. It has managed to plant many questions in my mind. Some were answered in the solace of my thoughts, and for some questions I and my protagonists were driven to seek answers, and some remained unanswered. It was like being stuck between the moment I started to write the story and when the story was acted out… between the endlessness of this one month. And it was not just me, it was all of us… all of us have fallen way down into this well of thoughts aroused in us by this play. And every attempt of ours to come out has been in vain.

 

The Director & Playwright

Vikas Bahari is an Indian playwright and director born in 1987 in Delhi. After completing his graduation from Delhi University, he went on to pursue a diploma course in Theatre from Madhya Pradesh School of Drama, Bhopal.  In 2014 he founded The Prism Theatre Society and has directed and designed various productions for it. He has written seven full-length plays and a few short stories and has a theatre experience of more than fourteen years. He is known for his new-age style of writing. His most recent plays Khidki, Chidiya aur Chand and Dararen are his best works till date, and have gathered nationwide critical acclaim and rave reviews. He is adept in writing in both Hindi & Urdu languages.

 

The Group

Prism Theatre Society is a Delhi based theatre group, an ensemble of professionals who work through repertory performances and theatre training led by actor / director Vikas Bahari. It provides a platform for independent artists who have chosen theatre as a medium of communication. It aims at continually challenging itself, thereby pushing the boundaries of its creative aspirations. It has always encouraged inter-cultural exchange and supported activities that engage with and explore new modes of expression, that will allow an individual artist as well as an ensemble to experiment, innovate and explore, thereby facilitating a deeper understanding of the arts of theatre. In the past few years, Prism has staged many plays and has more than a hundred performances to its credit. It has performed widely in Delhi, Mumbai, Ghaziabad, Guwahati, Jammu & Kashmir, Bhopal, Indore, Ujjain, Patiala, Uttarakhand, Bareilly and Chandigarh. It is one of the most promising theatre groups in Delhi. It is known for its modern approach towards theatre for which it has garnered nationwide acclaim.

 

Cast & Credits

Vishnu Prasad Bhargava Vijay Rajoria
Laxmi Prasad Bhargava Manisha
Ajeet Bhargava Ginny Babbar
Anand Bhargava Kapil Pal
Ankita Bhargava Tanu Suneja
Anjali Sharma Nisha Upadhayay
Ravi Kumar Jatin Sharma
Balli Raj Tanwar
Vijay Shrivastava Anoop Gosian
Radhe Sudhir Kumar
Music operation Sidharth Verma
Light operation Md. Azhar Khan
Props Md. Bilal Khan, Kamaldeep
Set Adnan Kohli
Playwright & Director                       Vikas Bahari

 

Contacts

Director, Prism Theatre Society

88/10 street No-1 Shakarpur

Delhi 110092

M: 011-22503440, 9811811221

E: vikasbahari@gmail.com

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All Plays Bengali Indian Plays

Damini Hay

Playwright: Chandan Sen
Director: Meghnad Bhattacharya
Group: Sayak, Kolkata
Language: Bengali
Duration: 1 hr 30 mins

 

The Play

Damini Hay is an elaborate and symbolic portrayal of how a woman stricken by poverty remains unburdened by it. The play is a tribute to a woman’s inner strength and ability to rise above problems such as grinding poverty. The situation of the play is a poverty-stricken, out-of-the-way village of Bengal where hunger, exploitation, greed, and deception reign unbridled, and the poorest subalterns living there grow-up believing everything is an unchangeable lot.

 

Director’s Note

The space between the parameters of poverty and utopia is difficult to describe and justify. The play moves between the real and the surreal, between poverty and hunger, and dreams of utopia and motherhood. The play is also concentrated on well established truths about poverty and exploitation, most of which is man-made. Simultaneously it pays tribute to a woman’s inner strength and ability to rise above grinding poverty.

The set design demonstrates an experiment of a dwelling place that is visually in ruins and is a representation of the stark reality of poverty that has gripped even those who claim the right to live. The light and music have been designed to describe the dreams of motherhood that the protagonist has.

 

The Director

Meghnad Bhattacharya has directed the translations as well as adaptations of plays by great masters like Tolstoy, Brecht, Schedrin, Somerset Maugham and Moliere. His noted play productions are Dui Hujurer Gappo, Gnan Briksher Fol, Daibaddha, Bashbhumi, Badhutantra, Karnaboti, Aa Awa Ka Kha, Sanjhbela, Dildar, Pinki Buli, Dhrubatara, Damini Hay, Passing Show, Premkatha etc. Meghnad has also directed three plays in Canada produced by Prabasi Toronto in 2006, 2008, 2013 and three plays in USA, one produced by Epic Actors’ Workshop in 2013, and two by Spotlight Columbus in 2015 and 2016. He has also directed a play Charduar by Gandhar Kolkata in 2002. Apart from theatre Meghnad has directed several TV plays in different channels and has also acted in at least 50 TV serials and films.

 

The Playwright

One of the frontline playwrights of Bengal, Chandan Sen has written more than hundred plays including his adaptations and inspired works of Schedrin, Chekov, Tolstoy, Lorca, Eugene O’ Neil, Sartre, Brecht and others for the Bengali Theatre. His plays have been translated in Hindi, Assamese, Oriya, and Telugu.

 

The Group

Sayak has the pride distinction of staging more than 3000 performances of 26 full length and 7 short plays, not only in all corners of West Bengal but also in different parts of the country and in countries like U.S.A. Canada, Bangladesh and Kuwait. Sayak, with its large involvement in multifarious theatrical activities has built a theatre hall Bijon Theatre, in North Kolkata. The group also conducts lectures on dramaturgy, and organises festivals of selected Bengali plays and children theatre workshops, and publishes a yearly theatre journal Sayak Natyapatra.

 

Cast & Credits

Lakshmikanta Biswanath Roy
Ganesh Pradip Das
Kartick Uttam Kumar Dey
Damini Kathakali
Jabali Aruna Mukherjee
Judhistir (Chief) Subrata Bhawol
Kalyan (Head Clerk) Dhurjati De
Bonomali (Tout) Meghnad Bhattacharya
Chakka Ajoy Sankar Banerjee
Panja Goutam Sen
Gunga Jayanta Das
Farash Samar Das
Villagers & Ghosts  Kartick Maitra, Santanu Bhattacharya, Susanta Dasgupta,                                             Samir Deb, Prasenjit Kundu, Samiran Bhattacharya, Parimal Chakraborty
Music Subhendu Maity
Light Joy Sen
Stage Soumik, Piyali
Choreography Subhendu Mukherjee, Kabir Sen Barat
Make-up Panchanan Manna
Light Operator Somenath Chattapadhyay
Background Music Swapan Bandhopadhyay
Music Operator Asit Maitra
Story                                         Amar Mitra
Playwright                              Chandan Sen
Director                                  Meghnad Bhattacharya

Contacts

Director, Sayak

C/o 192 G, Acharya Prafulla Chandra Road.

Shyambazar, Kolkata- 700 004

Ph: 033-25551973

M: +91 9230517473, 9830716207

E: sayak_theatre@yahoo.co.in

theatresayak@gmail.com

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All Plays Assamese Indian Plays

CHENGPUNG BORDER

Playwright & Director: Pranjal K Saikia
Group: Team Indipity, Guwahati
Language: Assamese
Duration: 1 hr 30 mins

 

The Play

A retired teacher of Chengpung village of Assam and Nagaland border, Mr. Dharmeshwar Bora has a small happy family – his wife, a goat and a dog. Although Mr. Bora has had a dream to be a car owner since he was young, his dream became stronger with the provident fund money he received on retirement. On being a car owner, he realised that it is not easy to survive in a bordering village, due to car-lifters, militant’s etc. Day by day Mr. Bora became very possessive about his car, to the extent that the fear of losing his beloved car took away his sound sleep. The story takes a turn when Mr. Bora tries to save his car from such circumstances (Border miseries seem to have no end…..).

 

Director’s Note

Every border (national or state) has its own stories to tell. Living in a village of Assam and Nagaland border, I have experienced the border that has fear, relentless mountains and way-faring rivers. The border that has tasted blood, militant movements, illegal arms, cannabis (Ganja), banned pseudoephedrine tablets etc. The common and innocent people of bordering villages have endless miseries; their dreams are meant to be shot. This play deals with the struggle of their survival, aspirations, dreams and downfall.

 

The Director & Playwright

Pranjal K Saikia is a commerce graduate from Guwahati University and holds a diploma in Dramatic arts from the Himachal Cultural Research Forum, Mandi (Himachal Pradesh). Since then he has worked as an actor, theatre director, script writer and also theatre trainer in different parts of India including Delhi, Bhopal, Meghalaya, Assam, Arunachal Pradesh and Tripura. Few of the important plays that he has acted in are Lower Depths, Andher Nagari Choupat Raja, Gaatha- the 1st text, Ashaad Ka Ek Din, Yatra Subha Houk etc. His major directorial works are Badal Sircar’s Ballavpur ke Rupkatha and self-written Bhumura, Status Complicated, Indipity, Bhou, Kiri Daloi (Jaintia Play) etc. Apart from these he has worked with different NGOs on different social issues in Madhya Pradesh, Assam and Tripura. One of his plays Indipity was selected for the 8th Theatre Olympics, 2018, and his Play Bhou was selected for the inauguration of 20th BRM, 2019 at Dibrugarh. Both of these plays were written & directed by him.

 

The Group

Established in 2012 at Guwahati, Assam Team Indipity is a group of young and energetic Theatre Artists. Team Indipity conceived with the idea of raising consciousness about social and psychological issues through meaningful theatre activities. Right from its inception the group also conducts theatre workshops, street play in all over north-east. The group is dedicated towards establishing new practices of art forms in the drama world and to articulate talents both physically and mentally. The group has performed in various theatre festivals including 20th Bharat Rang Mahotsav.

 

Cast & Credits

Dharmeshwar Bora Manoj Saikia
Sakuntala Rimjhim Deka
Naga Militants Arup Jyoti Rabha, Gokul Mipun, Utpal Hazarika
Goat Monalisha Rajbongshi
Dog Suraj Das
Villagers/Body Movements Abhijit Chutia,  Rijumoni Deori, Jyotishman Kaushik, Sanjiv Das, Bhaskar Dutta,  Desh Adhikari, Nandini Das, Aishwariya Bora, Rituparna Sakia, Nirupama Deka
Light Tapan Borua
Music Mandeep Mahanta
Costume Rijumoni Deori
Production Manager Achyut Saikia
Assistant Director Gokul Mipun and Bhaskar Dutta
Playwright & Director                            Pranjal K Saikia

 

 

Contacts

Director, Team Indipity

Ivy Enclave, Flat No – 404, Bye Lane No. 9

Dr Zakir Hussain Road, Sorumotoria

Down Town, Guwahati – 781006

Assam, P.O- Dispur

M: +91 8638846349, 8638002401

E: teamindipity@gmail.com

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All Plays Hindi Indian Plays

CHARUDUTTA

Playwright: Mahakavi Bhasa
Director: Bupesh Joshi
Group: Gaatha Natya Dal, Delhi
Language: Hindi
Duration:

 

The Play

The theme of the play not only represents the society in the aforesaid era, but also throws light on the degenerating values of the modern society. Love and brotherhood have given way to deceit, cunning and crime. In the story, Charudutta, once a prosperous resident of Ujjaini, due to his compassion and generosity, is now a poor man. Vasantsena, a courtesan, is the pride of the town. She is a benevolent, gracious and beautiful young woman. Enamoured by the extraordinary qualities of Charudutta, she falls madly in love with him. Although the story is a unique example of realism in Sanskrit literature, it is also apt for contemporary Indian theatre.

 

Director’s Note

Among the plays written by Mahakavi Bhasa, Charudutta is exemplary in its narrative and character portrayal. It is said that Sudraka’s Mrichhakatikam is based on Charudutta. The central thought of the play is that one should remain steadfast in one’s principles and values even in difficult times. The play also emphasises responsibility and morality in the institution of marriage. The storyline primarily deals with Shringara, Karun, and Hasya rasas, which are a part of the Navrasas of Bharatmuni’s Natyashastra. Keeping the traditions of Sanskrit drama, the play begins with a prelude. Visuals and choreography are blended in the production to make the play more interesting.

 

The Director

Born in Pithoragah, Uttarakhand, Bupesh Joshi is a graduate of Bharatendu Natya Akademi, Lucknow (1999). He is a recipient of Safdar Hashmi Award (2018) from Uttar Pradesh Sangeet Natak Akademi. He worked as an actor with Rangmandal, Shri Ram Centre for Art and Culture, New Delhi from 2000 to 2011. He has acted in more than 50 plays including Hayavadan, Jis Lahore Nahi Dekhya…, Ek Gadhe Ki Atma Katha etc. and directed more than 40 plays including Charudutt, Ashad Ka Ek Din, Arey Mayavi Sarovar and Mayaram Ki Maya. He has acted in films like Pinjar, Chintooji, Soan Chidiya; and tele-serials like Dehleej and Tum Sath Dena Mera. Bhupesh has participated in Tractor International Theatre festival, Italy and various others theatre festivals held nationally and internationally. He is a recipient of the Junior Fellowship from Ministry of Culture, Government of India.

 

The Translator

Lalit Singh Pokhriya, a graduate of Bharatendu Natya Akademi (1984-87), is an actor, playwright, director and theatre faculty. He has been awarded by the Uttar Pradesh Sangeet Natya Akademi, and is active in Indian theatre for the last 35 years. He has acted in more than 60 plays and conducted more than 50 workshops on theatre. He is the Founder Director of Nisarg Natya Sansthan, Lucknow, and a guest theatre director and faculty at Bharatendu Natya Akademi, Lucknow; Himachal Cultural Forum Natya Akademi, Mandi, Himachal Pradesh; Garhwal University and various other institutes.

 

The Group

Gaatha Natya Dal was established in 2005. It organizes production-based theatre workshops and children theatre workshops every year in Pithoragarh with assistance from Sangeet Natak Akademi, Uttarakhad. The group conducts theatre workshops under the National School of Drama Extension Programme. It also organizes institutional seminars, theatre discussions and theatre readings on drama, art and culture.

Cast & Credits

Charudutt Bhupesh Joshi
Vasantsena Priyanka Sharma
Shakar Prasoon Narayan
Vitt Vikas Yadav
Maitraye  Mukesh Jha
Radanika Ritu Raj
Madanika Nikita Rawat
Sharvilak Rajeev
Samvahak Ashwin Saxena
Nat Ramashankar Yadav
Nati Shalu Rajput
Brahmani Rochika Agarwal, Shalu Rajput
Chaturika Purnima
Karnpoorak Amit,Ankush Verma
Vyakti Ankush Verma, Arun Bhatt
Choornagoshth/Vardhmanvaka Shivam Kumar Pathak
Chorus Tanishk Joshi, Samrat Singh, Lata Joshi,
  Akshat Singh, Kanishk Joshi, Sarita Chaturvedi
   
Stage Management Arvind Singh
Stage Setting Ankush Verma,Arun Bhatt, Kartikeya Masiwal, Sonu, Md. Bilal
Stage Design Bhupesh Joshi
Costume & Choreography Satprakash
Assistants Shalu Rajput,Lata Joshi, Shivam Pathak,
Stage Property Vikas Yadav, Ashwin Saxena
Music Ravi Sharma, Gagan Singh
Music Operation Waqar Khan
Movement Bhumikeshwar Singh
Light Design Rahul Chauhan
Make-up Mukesh Jha,
Production Controller Tara Chandra Pant

Playwright                  Mahakavi Bhasa

Translator                  Lalit Singh Pokharia

Concept & Direction  Bhupesh Joshi

 

Contacts

Gaatha Rangmanch Kala Evam Sanskriti

A-38/2, Second Floor

Gali No. 08, West Vinod Nagar

Delhi-110092

M: +91 8750935473, 8076115170

E: gatha.theatre@gmail.com

 

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All Plays Bengali Indian Plays

CHARANDAS CHOR

Story: Vijaydan Detha
Director: Basudeb Hui
Group: Samatat Sanskriti, Uttarpara
Language: Bengali
Duration: 1 hr 55 mins

 

The Play

Charandas was a known thief with a razor sharp brain. He was famous for his unique modus operandi. He used to steal or snatch by talking people into his trap. Charandas also enjoyed deceiving the ‘habildar’ or the constable. One day he came across a Guru; that too while running from the constable. The Guru said that to be his disciple Charandas needs to make a vow and renounce something. Taking this to be fun, Charandas made four funny promises of renunciation. He took the vow of renouncing lie and falsehood. Strangely enough he followed the path of truthfulness without deviating from his ‘dharma’ of stealing. He became a truthful thief. Then in his life came the queen, the minister, the royalty and the crown. Can he stick to his truthfulness under the magnanimous pressure of power?

 

Director’s Note

Lack of trustworthiness is the most grievous and outrageous social problem of our society. Everything which we try to plan and achieve for the sake of our country men, becomes unsuccessful due to falsehood and unfair means in every step of development. We need to be true to our inner self with the virtue of mankind. Charandas Chor is a thief who portrays truthfulness on the canvas of craftiness and deceit of the society. Though theft is evil, here it is merely an imagery. Charandas is loyal to his work and words. Huge temptations and enticement can’t deter Charandas from his oaths. This story can be a pathfinder to the present generation of people to lead a life with dignity and to stand with truthfulness in every situation. Our “Charandas Chor” is inspired by Vijaydan Detha’s story, which is based on the Rajasthani folktale. Based on these texts and folklores our play has been devised and adapted by the director and actors of Samatat Sanskriti. The text has also been contextualized in the perspective of Bengal. This play is a tribute to Habib Tanvir who made it a classic.

 

The Director

Basudeb Hui is a graduate from Birla Institute of Technology. He took a ten-week intensive theatre workshop conducted by the National School of Drama under Prasanna, Barry John, Badal Sircar, Shyamanand Jalan, B.M. Shah, Devendra Raj Ankur, Suresh Bharadwaj and Pankaj Saxena. He also attended the movement, body language and acting workshop of Badal Sircar organized by British Council in Kolkata. Basudeb was a performer in Calcutta Youth Choir under the leadership of Ruma Guha Thakurta. He formed Samatat Sanskriti, Uttarpara in the year 2000.

 

The Story Writer

Vijaydan Detha (1926 – 2013), also known as Bijji, was a noted writer from Rajasthan and a recipient of the Padmashri, Sahitya Akademi, and many other awards. Detha has more than 800 short stories to his credit, which have been translated into English and other languages. With Komal Kothari, he founded Rupayan Sansthan, an institute that documents Rajasthani folklore, art, and music.

 

The Group

Samatat Sanskriti started its journey in 2000 as a theatre and cultural organization. Well-known theatre groups Sudrak and Nandikar helped Samatat in its first eight years. Samatat’s theatre festival, Samatat Natyamela is dedicated to diseased and distressed theatre workers. Samatat is continuing its work in theatre-in-education, youth and children workshops, trainee-trainers workshops, and regular actor training classes. Samatat started producing its own plays independently since 2008 and has more than 25 productions and nearly 500 shows to its credit. Samatat has participated in collaboration programmes with Sweden, Bangladesh and Vietnam. Multiple students from Samatat have participated in intensive theatre workshops organised by NSD and Sangeet Natak Akademi.

 

 

Cast & Credits

Charandas Chor Soumyadeb Hui
Habildar Anuran Basuroy
Gurudev Abhijit Mukherjee
Landlord Milan Chakrabarty
Mohila Hrithika Roy Chowdhury
Farmer/Santri Sourav Nandy
Drunkard Ashish Kumar Roy
Gambler/Priest Arghya Samanta
Gajakhor/Santri Uttaran Banerjee
Tetku Sourav Das
Announcer/Munim Arghyadeep Dey
Minister Subhadeep Sadhukhan
Rani Prerana Roy
Dashi Rakhi Kundu
Rajpurahit Tarun Prasad Dutta
Chorus Daita Chatterjee, Soumili Knarar, Anushka Roy, Trisha Bhoumik, Poushali Das
Singers, Musicians Joy Thakur, Sucharita Hui
Musician Alok Pal
Light Sadhan Parui, Chinmoy Ghosh, Samar Parui
Make-up Mahua Roy
Asst. Director Soumyadeb Hui, Anuran Basuroy
Story Writer               Vijaydan Detha
Director                      Basudeb Hui

 

Contacts

Director, Samatat Sanskriti, Uttarpara

209, Jay Krishna Street, P.O – Uttarpara

Distt. Hooghly West Bengal – 712258

M: +91 9831051262

E: basudeb_hui@yahoo.co.in

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All Plays Indian Plays Tamil

CHANDALA, IMPURE

Playwright: William Shakespeare
Director: Koumarane Valavane
Group: Indianostrum Théâtre, Pondicherry
Language: Tamil
Duration: 3 hrs

 

The Play

In beautiful India, where our play takes place, lives a very old demon. Sitting on his throne he feeds only on hate. He divides the world into four Varnas, “At the height of purity are the Brahmins; below them Kshatriyas, the warriors; then the Vaisyas, the merchants; and finally the Sudras, the servants. There should be a fifth category that needs to be added, of those who are totally impure to touch, the Chandalas…”An angel no bigger than a butterfly faces this eternal demon. He is Kama. The play offers the insatiable appetite of this monster with two mythical lovers, Romeo and Juliet, renaming them as Jack and Janani…

 

Director’s Note

Through our play we are trying to explore the caste system from the point of view of the contemporary Indian youth; how they are coping with this system, what are their aspirations, what are their values and how their being is affected by their place in a community, and the place of the community in our society. We also wish to visit the role of a community in an individual’s life and vice versa. The characters in this play are very much based on the documented lives of real people and situations. We also attempt to explore how our means of entertainment like cinema are affecting the ‘idea of love’ for our youth.

 

The Director

Koumarane Valavane, a Franco-Indian, left for France in his early years for his studies, and started practicing theatre at a very young age. After completing his research in Theoretical Physics he founded his own theatre company, Natya. Before returning to India in 2006, he worked for 3 years as an actor at Theatre du Soleilin Paris. With the rich experience of Contemporary Theatre gained in France, Koumarane returned home with a decision to continue exploring theatre. He met a few young people at Alliance Francaise de Madras, a small group connected by the passion to do theatre, and created Indianostrum in 2007.

 

The Playwright

William Shakespeare (1564 – 1616) was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world’s greatest dramatist. He is often called England’s national poet and the ‘Bard of Avon’. His extant works, including collaborations, consist of some 39 plays,154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.

 

The Group

Indianostrum Théâtre was founded by Koumarane Valavane, a French-Indian Director in the year 2007.

Indianostrum has performed at national and international festivals like Le Festivals des Francophonies en Limousin, France (September 2018), Rangashankara Theatre Festival, Bangalore (November 2018), Saarang Theatre Festival, Pune (February 2019), Mahindra Excellence in Theatre Awards, New Delhi (March 2019), The Hindu Theatre Festival- Chennai (August 2019), Les Journées Théâtrales de Carthage- Tunisia (December 2019). It has won Mahindra Excellence in Theatre Award 2019,  and Le Festivals des Francophonies en Limousin award, France 2018, and special jury award from the public of Théâtre de l’union for the year 2018-19.

 

Cast & Credits

 

On Stage Anjana Balaji, C. Santhosh Kumar, Dharanidharan U.,
David Salamon, G. Mani Bharathi, Mati Rajput, Priyadarshini Chakravarty,  Purisai Kannappa
Sambandan, Saran Jith, Vasanth Selvam (M)  
   
Scenography Savee Sathish Kumar
Scenography Assistant Manon Grandmontagne
Set Execution Joseph Bernard L.
Live Music and Singing David Salamon, Saran Jith
Costume Design Krishnapriya, K. Narendran
Light Design Jean-Christophe Goguet
Video & Multimedia Production Pascal Brazeau, NishanthVarma, Iswar Lalitha
Choreography Suresh Babu
Puppets Training K. Periyasami
Light Operator Kumar K.
Sound Operator Ruchi Raveendran
   
Executive Producer/Administration & Production/AV Projection Priti Bakalkar
Subtitles Operator KoumaraneValavane
Production Assistant Natarajan R.
   
Playwright                                                      William Shakespeare
Adaptation & Direction                                 Koumarane Valavane

 

Contacts

Director, Indianostrum Theatre

No. 7 Romain Rolland Street, Pondicherry

M: +91 (413) 2341475/ 9820403308

E: indianostrum.theatre@gmail.com