No doubt motivated by the terrible Sandeshkhali incidents this year, Durgadas Smrity Sangha’s Joyār Bhātir Kābya, written, directed, designed and choreographed by Kingshuk Bandyopadhyay, takes us into life in the

Ujjwal Chattopadhyay’s twin pack on progenitors of early 19th-century Bengali music and theatre definitely illuminates a past largely unknown to the general public. On the downside, however, he persists in

Violence—global and local—forms an unsettling theme in the latest productions by two primarily Hindi-language groups, Padatik / rikh- and The Creative Arts Academy. Vinay Sharma loves to send me scurrying

For a Hindi–Urdu theatre group in Kolkata to sustain continuous activity for three decades signifies dedication and resilience against all odds. I felicitate Little Thespian on reaching the milestone of

At KCC’s laudable birth-centenary homage to Habib Tanvir, two world premieres expressed through their art what most of the speakers did not dare to mention specifically in the most important

Kalyani continues to provide fertile ground for new Bengali productions. While Mukhosh’s resident dramatist-director offers another original play, Kalamandalam bases their latest dramatization on Manik Bandyopadhyay. Ayan Banerjee’s Solver features

The Padatik ensemble touches top form collectively on the latest productions in their two ongoing series, the literary Writers on Stage and the informal Theatre in Jeans. Beparwāh Manto celebrates

Time once again to record the activities of Bengali groups outside Kolkata. The two reviewed in this column demonstrate technical standards indistinguishable from their metropolitan counterparts, proving that the so-called