Little Thespian and Padatik keep local Hindi theatre alive with their new works, derived from American originals. Reminiscent of Euripides’ antiwar The Trojan Women, Jules Tasca’s The Balkan Women, translated

Three Mumbai productions in English came to Kolkata pre-Puja, exemplifying the good, the bad and the ugly, all funded by Aadyam Theatre, the Aditya Birla initiative. Aadyam needs to apply

When theatre presents mythological lore about popular deities, it inevitably risks the injustice of compressing reams of important episodes into a two-hour span, as well as attempting to reconcile contradictory

Not every day does an awardwinning play from the Edinburgh Fringe Festival come to Kolkata, or an international act inaugurate its India tour in Kolkata. Embarrassingly under-advertised, Krishnan’s Dairy by

Little Thespian’s annual festival has become by default the only one in Kolkata to showcase Hindi theatre at the national level on a regular basis. This year’s Jashn-e Rang brought

Canonical drama receives rewritten treatment from two Bengali groups based outside Kolkata. Marking the quatercentenary of Shakespeare’s passing, Kalyani Kalamandalam presents Macbeth Mirror, in which director Santanu Das whittles Dattatreya

The Sabhagar Theatre Festival laudably turned annual this year, and hosted three international shows. Monologuist Daniel Bye, brought by British Council, called his The Price of Everything a “performance lecture”,

Mahadevi Birla World Academy joins the elite batch of enlightened schools who understand the educational value of a full-scale production. Their Lion King not only charmed packed halls but attained

Adaptations of classics accounted for most of the new productions from other parts of India at Nandikar’s 33rd National Theatre Festival. They included Shaw’s Pygmalion and Osborne’s Look Back in

Hardly anyone writes drama on esoteric subjects in science, so it caused rare pleasure to view two plays based on physics that came to town. Michael Frayn’s Copenhagen, a contemporary

Magic and the supernatural pervade two Bengali plays revived. Ekush Shatak goes back to one of Mohit Chattopadhyaya’s earliest, the poetic and elusive Nishād (1968), which one can interpret in

Bengali theatre has revived significant adaptations from the 1980s of two international classics dating to the mid-20th century: Arthur Miller’s The Crucible (1953) and Friedrich Dürrenmatt’s The Visit (1956). Both