A couple of current Bengali plays hark back to classical Greek antecedents without doing justice to them. Shohan’s Āmirāh, inspired by Sophocles’ Antigone, gets it wrong by simplifying the tragic

Bengali groups have turned to Vijay Tendulkar’s plays again for their thought-provoking content, this time with victimized women at the centre, newly reviving Shantata! Court Chalu Ahe and Mitrachi Goshta,

Sayak resuscitated their competitive festival of Bengali plays this year, last held in 2018, and featured ten productions selected by Debasis Majumdar on the basis of their scripts. As a

Atelier’s Campus Theatre Festival saw two Delhi colleges come to Kolkata in its 14th annual season—no small achievement for Atelier, who this year even faced intimidation and an attack on

Narayan Sanyal’s books have powered two new dramatizations, both by playwrights with a serious bent, befitting Sanyal’s deeper (as opposed to popular) writing. Spectators who bemoan an absence of inspiring

Mahmood Farooqui from Delhi made a welcome return to Kolkata after over a decade, at the invitation of Kolkata Centre for Creativity, to present his Dastangoi Collective’s Dastan-e-Karn az Mahabharata.

Among festival favourites over the past year, I have not yet reviewed Angik’s Binodini Opera and Mukhomukhi’s Ājker Shājāhān. Both respect their sources, but we need to look at them

In perhaps the first visit by a Finnish theatre troupe to Kolkata, the trio of Essi Rossi (director), Johannes Holopainen (actor) and Pauli Riikonen (designer) honoured our city with the