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.

In the last of this winter’s international gigs, Sudrak hosted Aaloron from Keighley, Yorkshire, who anthologized four of Tagore’s love stories. The script by Kolkata-based Shailen Patro and Dilip Banerjee

Much like the now-celebrated Je Jānlāgulor Ākāsh Chhilo and produced around the same time, Angan’s Nilāmbālā Chhe Ānā pivots the spotlight on life in Kolkata’s refugee “colonies” over the decades

It is heartening to find new productions in Urdu based on history, one by a young group and the other a troupe of long standing, both with one foot in

Let’s look at Minerva’s National Theatre Festival 2026 statistically. It brought ten of the seventeen invitees from outside Bengal—a creditable majority, hypothetically allowing audiences to watch a number of external