The trio of recent big-ticket imports from Mumbai gave us a variety of original drama, but none fully satisfying. Mahesh Dattani’s latest work, Gauhar by the Primetime Theatre Company, the […]

The Narada (from ancient myth, not nascent media) of Kolkata theatre, Vinay Sharma, follows the footsteps of the sage who used to interrogate the gods with awkward questions that none

Supernatural figments who help in transcending the travails of ordinary lives reappear in an original Bengali drama and in a twist on a famous Upendrakishore tale celebrating its centenary. Nat-ranga’s

Ganakrishti has turned quite prolific this year, producing two original plays within a few months. Their long-term partnership with Slovenian dramatist Evald Flisar continues, group director Amitava Dutta adapting Flisar’s

The quatercentenary of Shakespeare’s death seems to have caught many more people’s fancy than his 450th birth anniversary that passed relatively unsung two years ago. At a panel discussion the

Visiting artists performed self-composed plays recently, based on life history and first-hand information respectively. From Hyderabad, Rangadhara Theatre Stream and Sutradhar brought Main Rahi Masoom, a monologue on Rahi Masoom

With I Don’t Like It As You Like It, presented by Centre Stage Creations, Cinematograph notches up its fourth Shakespearean appropriation in eight years employing Rajat Kapoor’s directorial concept of

Dramatization of fiction raises several problems exemplified by two new Bengali productions. Both should garner popularity, but how closely do they manifest their mid-20th century sources? Anya Theatre’s Nati Kiranshashi,

Thanks to the controversy generated when the University of Delhi unjustly dropped it from its syllabus five years ago, A. K. Ramanujan’s essay “Three Hundred Ramayanas” had placed in the

Theatrecian has taken a fancy to tried and tested murder drama in its last two productions. In Frederick Knott’s Dial M for Murder, the police nab the plotter of a

This month, Theatre Workshop became the sixth among the Bengali group theatre movement to reach the magic milestone of a golden jubilee – after Bohurupee, Little Theatre Group/People’s Little Theatre,

Noor Jahan and Jahangir might look pleased as punch in the promotional pictures, but if you had seen Yatrik’s Noor Jahan – An Empress Reveals, you would have wondered how