Uma Jhunjhunwala directs Partap Sehgal's new play about the concept of darkness, which can masquerade as righteous fervor behind the veil of religion or sect, or manifest as hypocrisy or superstition or blind devotion. It seeks to unravel the mysteries of darkness and ponder the paths to liberation. The inaugural production of Little Thespian's Jashn-e-Azhar […]
Partap Sehgal’s solo play, directed by Mrityunjay Prabhakar in Bengali, about a woman who has gone through a roller coaster ride in life due to her love affair and marriage. Part of Little Thespian's Jashn-e-Azhar national theatre festival.
Partap Sehgal's play centres on Aryabhata, the astronomer whose groundbreaking discoveries and defiance of Brahminical dominance in favour of truth challenged prevailing superstitions and religious dogmas of his time. Directed by Ayaz Khan. Part of Little Thespian's Jashn-e-Azhar national theatre festival.
Translated from Pirandello’s metatheatrical classic Six Characters in Search of an Author by Rudraprasad Sengupta and directed by Debesh Chattopadhyay. Recommended: ★★★★ Read my review here.
Nitish Sen’s classic solo play directed by Turna Das.
Partap Sehgal's eponymous poem dramatized and directed by Gourav Das reflects on the lives of children from Peyarabagan, the second largest slum in Kolkata, narrating their coming-of-age transition into adolescence. Part of Little Thespian’s Jashn-e-Azhar national theatre festival.
Partap Sehgal's latest play directed by Gauri Dewal deals with the ever-changing nature of values through the story of an intelligent woman whose life has been shaped by tragedy. Part of Little Thespian’s Jashn-e-Azhar national theatre festival.
Adapted from Evgeny Schwartz’s satirical Russian play The Dragon (1944) by Arpita Ghosh and directed by Debesh Chattopadhyay. A village terrorized by a dragon finds an unlikely saviour.
Translated by Sankha Ghosh from Girish Karnad’s classic folk-based play Hayavadana, and directed by Debesh Chattopadhyay.
Dramatized from Manik Bandyopadhyay and directed by Arun Mukherjee. The story revisits the historic Tebhaga Movement of 1946-47 in Bengal, where Haran, an old sharecropper, has gone half-mad after police killed his son.
