Ananda Lal

Alyque Padamsee’s much-hyped production of Death and the Maiden, presented by Spandan at Birla Sabhagar on April 10, turned out quite a damp squib. This recent London hit certainly does […]

The three-day festival of plays by Aaj from Udaipur (presented by Sangit Kala Mandir, March 26-28) further stirs the continuing debate over the mixing of rural and urban performing styles.

The December riots jolted many out of their complacency about the tolerance of Calcutta. Some artistes took one step further and decided to act upon the strength of their convictions.

Soumitra Chatterjee has been trying for some time now to bridge the discrete worlds of commercial and “group” theatre in Calcutta by grafting the serious concerns of the latter with

Sensitized by our consciously feminist times, artistes in any form must take care to avoid sexism in their depiction of women. Yet old habits creep in almost inadvertently, even against

As part of Banga Mela 1400, organized by the Information and Culture Department of the Government of West Bengal, Theatre Commune presented Sadhabār Ekādashi at Rabindra Sadan on April 17.

The maiden enterprise of Spandan’s Theatre Wing, Māyājāl (Birla Sabhagar, May 1), augurs well for its future. It seems that Spandan is committed to serious work in its own productions,

The latest productions by two talented, comparatively younger Bengali groups—Sudrak’s Chandālini and Chenamukh’s Drishtikanyā—prove conclusively how dependent on other people’s ideas our theatre has become. The experience is all the

It’s one thing to praise a weak but idealistic play by a lesser dramatist so as to encourage him, but the same play written by a frontline author is bound

In terms of social service, RAGE Theatre Group (Bombay) has done its bit by staging Are There Tigers in the Congo? (a Spandan presentation, Birla Sabhagar, June 18). By today’s

Credit must be given to Chalchitra for discovering the works of Viktor Rozov, an important Russian dramatist whose constant projection of the disgruntled younger generation and criticism of misplaced social

Surely Pooja Bedi’s fortunes have not fallen so low as to force her to accept the kind of exploitative part that she performs in Carry on Papa (a Spandan presentation,