The last two performances at The Urban Theatre Project recalled earlier productions there this year. Rosikata’s Jyānta Hamlet has a Mousetrap-like twist in the tail that brought to mind a

Friendship growing out of rejection and isolation, the inheritance of property in riparian villages, and talented lesser-known actors combine on two straightforward Bengali plays. The new face of group theatre,

Bengali groups have not just rediscovered their 19th-century commercial predecessors (whom many of them used to disdain 50 years ago), but dramatist-directors like Surajit Banerjee and Rakesh Ghosh have revisited

Dolls Theatre’s three-day International Puppet Theatre Festival featured mostly Indian troupes and one foreign participant, from Colombia, whose mixed-media solo titled Rebirth I saw on the final evening. Based in

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