June 2021

After felicitating Arun Mukherjee, Satish Alekar and Ratan Thiyam this time, Nandikar’s Ninth National Theatre Festival commenced at the Academy of Fine Arts on December 5 with Pagla Ghoda in […]

Thanks to the organizational abilities of Nandipat, the fortnight-long Padma-Ganga Utsav sponsored by Charms Mini Kings brought to the western edge of the delta a broad cross-section of Bangladeshi theatre,

Nandikar’s National Theatre Festival became a major cultural victim of the sad events in the second week of December—a pity and a great irony, for it has prided itself in

If it could apply to the materialistic rat race of American society twenty years ago, why not the yuppy sector of India today? Neil Simon’s The Prisoner of Second Avenue,

Theatre Art of Bangalore is among the very few English-language theatre groups in India who care about doing serious plays. Not just that, their skilled abilities permit them to take

For Chetana to pick Brecht’s adaptation of Shakespeare’s Coriolanus (Academy of Fine Arts, January 5) is at once both right and wrong. If translator-director Suman Mukherjee intends to convey Shakespeare,

The Sangit Kala Mandir Festival of plays by Ank proved, if nothing else, that this Bombay group led by Dinesh Thakur has a very diverse range of dramatic interests as

The latest production of Class Theatre, Bārti Dām Deba Nā (Sisir Mancha, January 20), presents Dario Fo’s Can’t Pay, Won’t Pay! in a fairly straightforward Bengali translation by Sukumar Das,

Shouvanik’s new play, Ekrāt Banalatā (Mukta Angan, January 23), is just that: a new play authored by Indrasish Laharry, who must at least be congratulated for persevering in composing original

Anamika Kala Sangam’s unique month-long Four Square Critics Choice Festival at Gyan Manch brings together for the first time in Calcutta a substantial number of current plays vetted by a

Charbak’s newest presentation, Banjārā, continues their exemplary commitment to staging original drama created from within the group, instead of relying on the normal soft option of Bengali theatre—adapting foreign plays.

The art of mime has come a long, elastic way from Marcel Marceau, whose cute Chaplinesque manner became so ubiquitously influential that it could safely be called “classic” mime. But,