Nā Tor Janya

Group: Dwitiya Satta

Dramatist-director: Suman Sengupta












Group: Paramik (Barrackpore)

Dramatist: Anirban Sen

Director: Suvojit Bandopadhyay



In Dwitiya Satta’s new play, Nā Tor Janya, written and directed by Suman Sengupta, Macbeth meets The Matrix on the subject of the artist coopted and corrupted by forces around him. Potential for political and economic commentary abounds in the first half about ambitious opportunism, while three old women (see photo) dominate the second half but, unlike the Weird Sisters, they uphold good as they bumble around attempting to restore values. Their appeal, however, diverts attention from the main focus; regrettably, therefore, Sengupta needs to edit their part. Substantial humour, innovative reworking of Rabindrasangit, creative usage of props to represent three files of soldiers, contribute to the heady mix before the plot collapses in the anticlimax of an alcoholic delusion, deflating all that Sengupta has built up. Raudrashis Hota and Amrita Mukhopadhyay acquit themselves suitably as the troubled leads.


In Paramik (Barrackpore)’s Phāns, Anirban Sen subverts Robert Browning’s “My Last Duchess” in quite a devilish fashion by dramatizing it in a Muslim village with a woman named Hamida climbing to power through evil actions, failing to find fidelity in relationships, and serially doing away with her lovers the minute she suspects them of betraying her. Suvojit Bandopadhyay places his distinctive directorial stamp on the plot by using three strong performers as Hamida—Chalantika Gangopadhyay, Puja Bhattacharya, Gracy Chowdhury—though not distributed equally for reasons not entirely clear, affecting our understanding of the character. The cycle of revenge suggests that violence may continue even after justice is served. Most commendably, Bandopadhyay’s young team present an authentic and energetic depiction of rural society and live song.