Anamika Kala Sangam’s last two Hindi imports from Delhi and Mumbai respectively do not give us cause for enthusiasm—the first for ethical reasons, the second for dramatic reasons. Felicity Theatre’s

Sansriti’s new production inaugurated Mukhomukhi’s 30th anniversary festival, bringing Buddhadeva Bose’s Pratham Pārtha to a new generation of theatregoers after Swapna-sandhani’s interpretation in the 1990s. Among Bose’s verse-drama quartet based

Two current Indianizations of plays originally in English show family members taking the lives of their closest relatives. Kalyani Natyacharcha Kendra’s Nim Amrita adapts into Bengali Somerset Maugham’s The Sacred

Germany and 1959 share a curious theatrical distinction: the world premieres of two early absurdist plays, Pinter’s The Dumb Waiter and Ionesco’s Rhinoceros, took place that year in that country,

The growing interest in short (under an hour), intimate theatre is a positive sign: more traditional groups explore the advantages of small spaces, as I have advocated for years. The

Two groups revisit European drama with political underpinnings from the 1950s for new adaptations. Despite the strong leftist ideology of Bengali theatre, it has not noticed that Dario Fo’s centenary

Our Hindi theatre made interesting forays by Indianizing two plays from 18th-century Britain and 21st-century America. Even in the UK there are few takers today for Sheridan’s classic comedy of

Having missed out on Akvarious’s Dekh Behen the first time around, I caught up with it and its sequel at The Urban Theatre Project’s Dekh Behen weekend, serendipitously enabling me

Screen to stage comebacks face critical scepticism because the stars’ popularity generates full houses whereas the theatrical product fails to equal the best standards in the art but, since most

Biodrama in Bengali theatre has grown into a notable subgenre lately. Two of them, originally occasioned by centenaries and significant anniversaries, give spectators welcome vistas into Indian personalities of genius