Plays

Selected plays for 21st Bharat Rang Mahotsav 2020.

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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

 

 

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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 Bengali Folk Performances

GANGA PUTRA BHISHMA (Jatra)

Playwright: Sunil Choudhury
Director: Ruma Dasgupta
Group: Sri Chaitanya Opera, West Bengal
Language: Bengali
Duration: 3 hrs

 

The Form 

Jatra is a popular folk-theatre form of all the Bengali speaking areas of the Indian subcontinent, including Bangladesh and the Indian states of BiharAssamOrissa, Tripura and West Bengal. The word ‘Jatra’ means journey or travel. The origin of Jatra, intrinsically a musical theatre form, is credited to the rise of Sri Chaitanya‘s Bhakti movement. Chaitanya himself played Rukmini in the performance of Rukmini Haran (The abduction of Rukmini) from Krishna‘s life-story, a first definite presentation of this theatrical spectacle. The performance, which lasted through the night in 1507 AD, has been described in Chaitanya Bhagavata, Chaitanya’s hagiography by a disciple Vrindavana Dasa Thakura.

 

The Play
Being cursed, the eight demi-gods, Ashtabasu, were born as the children of Ganga, the queen of Hastinapur. She sacrificed seven of them but when it came to the eighth, Debabrata, the King did not let her to do so. Having taken certain severe oaths, Debabrata was honoured by the name Bhishma. He conquered the province of Gandhar, imprisoned the King along with his hundred sons and made the princess marry his blind nephew. The king’s elder son, Shakuni, survived and decided to avenge Hastinapur. Thus came about the fierce battle called Mahabharata at Kurukshetra.

 

Director’s Note
The Jatra Pala named Ganga Putra Bhishma is based on the world-famous Indian epic The Mahabharata. Our work is a theatrical version of the basic thoughts of the epic which unfolds the dialectics of war and peace, hatred and love, greed and sacrifice. The play is not only meant as a biographic tale of Ganga’s and Bhishma’s life and sacrifices, but also an analysis of the salutary instructions in the epic.

 

The Director
Ruma Dasgupta, the eminent personality of Bengali Jatra stage, is a professional actor, director, composer and teacher. She has been on the professional Jatra stage as an actress since 1981. Smt. Dasgupta has acted-in and directed more than hundreds of Palas. She has received many awards and felicitations and is an honourable member of West Bengal Jatra Academy in which she has trained many students through workshops. At present she is the director of Sri Chaitanya Opera, a company of progressive Jatra performance.

 

The Playwright
Sunil Choudhury, the eminent Jatra personality of Bengal, is a professional playwright, director who has written many successful Jatra Palas like Prithibir Pathshala, Rongini Champaboti, Taalpatar Sepai, Ogo Bishnupriya, Dhuli, Noti Tarasundori etc. He has received many awards and felicitations including the Dishari Award from West Bengal Journalist Association.

 

The Group
The descent of Sri Chaitanya Mahaprabhu introduced the culture of Jatra in the Bengal province. Sri Chaitanya Opera is dedicated to His path of harmony and peace by preaching love. The Opera was founded in 2015 by the veteran benevolent of Bangla Jatra, Shri Swapan Debnath and his S.P.S. Enterprise. Around fifty artists and workers, including their families, are fully dependent on the Opera.

 

Cast & Credits

Ganga Ruma Dasgupta
Shakuni Amit Kanti Ghosh
Bhishma Avijit Sarkar
Arjun Arijit Lahiri
Karna Arindam Bhattacharya
Krishna Kumar Nabab
Byasdeb, Drupadraj, Narak Amit Kumar
Duryodhan Arup Chakrabarti
Maharaj Shantanu/Dhritarashtra/
Rishi Dhoumya Ashok Banerjee
Matkun/Dusshasan/Abhimanyu Chandan Kumar
Parashar/Yudhishthir  Manas Chatterjee
Draupadi Urvashi
Satyavati Nisha Mukherjee
Bhimsen  Chanchal Dey
Amba  Miss Sohag
Gandhari   Santoshi Sengupta
Kritaghnabarma  Timir Mondal
Ahlladi    Sagarika
Dhibar Raj Ghandhapani/Shalyaraj  Haradhan

 

Synthesizer Player Pranab Dutta
Flute Player Sunil Ghosh
Clarionet Player Khudiram
Maity Table, Dhol Player Sachin Majhi
Percussion Player Rabindra Jana
Octopad Player Prabir Haldar
Sound Control Ram  Mondal
Light Projection Haru Kundu
Backstage Lakkhi, Shambhu, Robi, Sirajul, Babulal
Costume &
Property Management Dulal, Sudarshan
Music Director  Swapan Pakrashi
Lyricist  Ujjal Biswas
Choreography Partha Sarathi
Light & Sound S. Sargam
Office Manager Tapan Pramanik, Gora Mondal
Represented by Kanak Bhattacharya
Main Adviser Shri Swapan Debnath
Produced by S. P. Enterprise
Group Managers Narottam Bhattacharya, Nihar Ranjan Ghosh
Main Field Manager
& Group Conductor Haradhan Roy
Playwright                                                     Sunil Choudhury
Director                                                          Ruma Dasgupta

Contacts

Sri Chaitanya Opera

386, Rabindra Sarani

Kolkata- 700006

M: +91 9836026444

E: haradhan61.shikhabullu@gmail.com

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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

S.V.B.K (6)
All Plays Folk Performances Gujarati

BANJARA (BHAVAI VESH)

Director:  Pranjivanbhai Babubhai Paija
Group: Swami Vivekanand Bhavai Mandal, Gujarat
Language: Gujarati & Hindi
Duration:  1 hr 30 mins 

 

The Form

Bhavai is an old art of storytelling which has its roots in the 13th Century. Originally, this folk-dance was performed by male artists only, but now with the society becoming more progressive, women are the main participants of Bhavai. Banjara is a nomadic tribe, with origins in the Marwar region, now Rajasthan, India.

 

The Play

A Banjara family is travelling from village to village for trade. The children are thirsty after a long walk. Once they approach a village, Banjaran goes to a pond in the village to fill water for drinking. The village sarpanch refuses to allow her to take the water for free. Banjaran calls her husband Banjara, who convinces the Sarpanch that water cannot be sold. It is a gift given equally to all by nature. The Sarpanch finally agrees to him.

 

Director’s Note

The exchange of culture between people is inspiring and that is what we love doing through Bhavai.

Many years ago, when there was no television or radio, Bhavai was one of the mediums for the welfare and entertainment of the local people. Stories of great men, kings, and other aspects of history of our country could be conveyed in a language that everyone knows and understands. I remember my father and our ancestors as social reformers. Bhavai is an excellent medium, even today, to bring awareness of important issues to people.

 

The Director

Pranjivanbhai Babubhai Paija is the youngest son of Late Shri Babubhai Kanjibhai Vyas. Impressed by his father’s life, he believed that learning alone should not be the aim of one’s life but sharing of what is learnt is of vital importance, and is the only way to lead a satisfying life in the society. Since his childhood he has been actively and joyously participating in Bhavai since his father was a Bhavai artist and the family was regularly visited by many artists. He used to spend his holidays and free-time performing and learning music instruments. He is now adept at playing tabla and harmonium, and also performing certain roles in the performances.

Pranjivanbhai manages Swami Vivekanand Mandal where he co-ordinates, plans and organizes Bhavai performances. He also sings Bhajans in organized public events. He teaches music instruments to his young students along with guiding them on the same principles of life that his father taught him. He has performed in India and abroad including countries like USA, West-Indies and Suriname.

 

The Group

Swami Vivekanand Bhavai Mandal was been established in 1950’s by Babubhai Kanjibhai Vyas (sub-caste Paija). Babubhai, his fore-fathers and his entire family have contributed immensely towards the storytelling art of Saurashtra’s historical Bhavai and saved it from extinction. Bhavai was earlier famous only as a folkdance but later on songs, dialogues and acting were added to it. This has worked as a powerful tool to educate the masses on various social issues through the medium of sarcasm and humour.

 

Cast & Credits

Gangodani /Joker Pranjivanbhai Paija
Sutradhar Haribhai Paija
Ganapati Pravinbhai Bhadla
Banjaro Avinash Paija, Shivadhanbhai Oriya,
  Shantilal Oriya, Bhikhubhai Indrodiya
Banjaran Bharatbhai Agola, Kantilal Paija, Chandulal Mandali,
  Babulal Vyas, Mehul Oriya, Raviraj Paija,
  Kantilal Lalukiya, Sevanti Bhavaya
Gandhari Vrajlal Vyas
   
Backstage Artist Prakash Paija, Raviraj Paija
Tabla Vadak Vikram Paija
Harmonium Amrutlal Vithlapara
Manjira Vadak Pravinchandr Paija
Bhungal Vadak Balavantbhai Paija, Bhupatbhai Vithalapara
Tabla & Manjira Vadak Bharatbhai Paija
   
Coordinator                            Raviraj Pranjivanbhai Paija
Director                                  Pranjivanbhai Babubhai Paija

 Contacts

Pranjivanbhai Babubhai Paija

Swami Vivekanand Bhavai Mandal

Khakhrala, Distt. Morbi, Gujarat – 363641

Ph: +91 9913442450, 9979454193, 9979522097

E: raviraj.paija@gmail.com, tnpaija@gmail.com,

pranlal.b.2063@gmail.com

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All Plays Hindi NSD Repertory Company

TajMahal ka Tender

Playwright: Ajay Shukla
Direction: Chittaranjan Tripathy
Group: NSD Repertory Company, Delhi
Language: Hindi
Duration: 2 hrs 20 mins

 

 

The Play

Emperor Shah Jahan invites the chief engineer of CPWD, Guptaji and shares his dream of building a monument in the memory of his late, wife, Mumtaz. After much deliberation he comes to the conclusion that a mausoleum be built in her memory and he wants it to be named Taj Mahal.

Guptaji, a shrewd, corrupt, official, entraps the Emperor in the snares of bureaucracy and red- tapism leading to many hilarious situations. The ridiculous bureaucratic procedure takes 25 years only to float the tender notice of Taj Mahal.

TajMahal Ka Tender is one of the successful satires of contemporary times.

 

Director’s note

The state is the best creation of man as it is not an imitation of anything that existed before. With the emergence of the State, a primitive society is transformed into a civil society, leading to the germination of division of labour, division of time, rank, file, red-tape etc., thereby giving birth to official dom. TajMahal ka Tender is a satire on rank –file, red tapism and the sad state of officialdom. It focuses on the organizational diseases that India is suffering due to – corruption, idleness, favoritism, arrogance and insensitivity to public needs.

 

The Director

Chittaranjan Tripathy graduated from National School of Drama in 1996 with specialization in acting. He was also enrolled in the musical theatre department in the Guildford School of Acting (GSA), Guilkdford, UK, under the Charles Wallace fellowship.

Shri Tripathy has directed plays for many leading theatre groups and repertory companies including the National School of Drama Repertory Company, the Shri Ram Centre Repertory and the Sahitya Kala Parishad Rang Mandal. Some of his most popular plays include TajMahal Ka Tender with NSD Repertory Company, Capitol Express, Arre Mayavi Sarovar with SRC Repertory; Ladi Nazaria  and Humare Sheher Ke Romeo Juliet with Sahitya Kala Parishad Rang Mandal.

 

The Playwright

Born in 1955, at Agra Ajay Shukla is a post–graduate in history from Lucknow University and then joined Indian Railway Traffic Service. His play, Doosra Adhyaay was directed by Ram Gopal Bajaj in 1998, and was broadcast from All India Radio later the same year. In 1993 he received the Delhi Sahitya Kala Parishad’s Playwright – Award for Doosra Adhyaya and   Mohan Rakesh Samman for his play Tajmahal Ka Tender. In 2000 he received the National Award by All India Radio (Akashvani) for his play Hum Honge Kaamyab.

 

The Group

Established in 1964 with a membership of only four persons, the Repertory Company is the regular performing wing of the School. It was set up with the dual purposes of establishing professional theatre on one hand and continuing with regular experimental work on the other. Over the years it has produced a variety of plays ranging from stylized musicals to realistic contemporary Indian drama to translations and adaptations of foreign plays. In addition, several eminent persons of national and international repute have worked with the Company, and it has performed over one hundred and eighty one plays by ninety-eight playwrights and has worked with ninety directors. Quite a few of its actors have emerged as celebrities in theatre, cinema and television. The Company has toured extensively in India and abroad. It is celebrating fifty years of its existence this year.

 

 

Cast & Credit

Shahajahan Shahnawaz Khan
Gupta Suresh Sharma
Sudhir Ashutosh Banerjee/ Virendra Singh
Bhaiyaji Deep Kumar
Mahila Neta Sampa Mandal/ Shruti Mishra
Kanhaiyalal Sikandra Kumar
Murarilal Sharma Naveen Singh Thakur
Shethi Shubham Pareek
Ladka Rahul kumar
Ladki Sakshi Sharma
Aurangzeb Parag Baruah
Mummo/ Mumtaz Snehalata  S. Tagde
Darbari Shubham Pareek, Vishveshvar M. Gondhali, Manish Dubey, Virendra Singh, Naresh Kumar
Jahanara Anamika Sagar
Shaktiman Jitu Rabha
Four Friends Virendra Singh , Manish Dubey, Vishveshvar M. Gondhali, Naresh Kumar
Dancer Aparna Menon
News Paper Hawker Shruti, Sampa, Aparna Menon, Snehalata S. Tagde
Other Palak Jasrotia
Production Co-ordinator Sukumar Tudu
Set Designer Pankaj Jha
Set Execution Ram Pratap, Manoj Kumar, Brijesh Sharma
Light Design Govind Singh Yadav
Light Execution Md. Suleman, Pradeep Aggarwal
Costume Design Sunita
Costume Helping Shruti Mishra
Chief Costume Co-ordinator C.S. Bhatia
Dance Choreography Meghana Malik
Singers All Repertory Artistes
Music Rearrangement Santosh Kumar (Sandy)
Property In-charge Moti Lal Khare
Sound Operation Mukesh Kumar
Make Up In-charge Sikandra Kumar, Shruti Mishra
Stage Manager Govind Singh Yadav
Assistant Director Md. Abdul Kadir Shah
Playwright                                                Ajay Shukla
Lyrics, Music, Design & Direction        Chittaranjan Tripathy

 

Contacts

NSD Repertory Company

Bahawalpur House

Bhagwandas Road

New Delhi – 110 001

Ph: 011 23383420

W: www.nsd.gov.in

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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

12
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