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

What should one take utmost care to avoid when dramatizing a novel? Two Bengali productions provide both chastening and instructive answers. The obvious first criterion: never deviate from the key

Surajit Banerjee’s long-time fascination with Nati Binodini leads to a rerun in Natyaranga’s Sei Ek Binodini!! (sic) Over 15 years ago, he had written Binodini Kathā, featuring a Pirandellian form

For Jashn-e-Azhar 2026, Little Thespian invited three Hindi groups from outside Kolkata. Ekrang (Mumbai) paid homage to Badal Sircar with Pratibha Agrawal’s faithful translation, Paglā Ghodā, directed by Jayant Deshmukh.