Time once again to record the activities of Bengali groups outside Kolkata. The two reviewed in this column demonstrate technical standards indistinguishable from their metropolitan counterparts, proving that the so-called

Kolkatans can currently see Bengali productions based on the works of Central European authors, not a very common occurrence. Ganakrishti has of course regularly translated plays by Evald Flisar from

The high costs of bringing an out-of-town proscenium production here have scuttled our once-regular exposure to such theatre. In its place, we get more barebones solo or duo performers, Mumbai

Education has become a central concern for several Bengali groups ever since our very own “School for Scandal” erupted in front of our eyes last year. Among recent productions, I

It always encourages to see young groups working imaginatively. The yet-unnamed creators of Necropolis staged their third performance of this play, though it goes back nine years to dramatist-director Debopriya

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