Bengali groups from outside Kolkata find it very difficult to book halls in the city. Yet, as my reviews make it a point to prove, much good work originates there,

Continuing to combat religious oppression of the underprivileged, Bengali theatre fights relentlessly against exploitation in all its forms. In narrowing the focus to violence against women in rural areas, two

Mukhomukhi’s festival thoughtfully marking 75 years of group theatre unprecedentedly premiered eight new Bengali productions over one week and had an explosive start with Prachyo’s Manikarnikāy Manikā, adapted from Jean-Paul

Little Thespian’s national theatre festival, renamed Jashn-e-Azhar to memorialize Azhar Alam, featured in Hindi three renowned north Indian writers on its first three days. Vivechana Rangmandal (Jabalpur) presented Dujo Kabir

Two-handers made quite a comeback in Bengali theatre after the pandemic owing to their comparative logistical ease of rehearsal and management. Thus, we have had Kathakriti’s Nayan Kabirer Pālā, Anya

Sansriti has reached a major milestone, their thirtieth anniversary. It seems just the other day that I criticized some of their early productions, but under founder-director Debesh Chattopadhyay they have