With students back physically in school, can young people’s theatre stay locked down? Two Bengali groups feature their welcome-back workshop-driven plays as part of a double bill, both directed by

Rangroop’s latest production, Spare Parts, begins like a social comedy but ends up as a political tragedy about India. One expects the latter trajectory from the writer, Swapnamoy Chakraborty, reminding

Ichheymoto’s new production is an unusual Marxism-made-easy-in-90-minutes capsule that dramatizes what many critics of Marx wished he had done—namely, lectured to the proletariat in their language about the ideas he

The Bengali group Curtain Call has existed for a few years, but I hadn’t seen their work until recently. On the basis of two productions, we can state that they

English theatre, too, tinged bilingually with Bengali, tiptoes back on stage with a couple of hour-long productions at Padatik, both of which genuflect to—no surprise in the case of English—the

Hindi theatre too has got back to work after the lockdown. Of the established groups, we’ve already covered Padatik’s latest, while Rangakarmee has picked up the pieces following Usha Ganguli’s

The new productions by Paikpara Akhor have put the group back in the limelight with its special brand of research-based theatre under directors Bhadra and Asit Basu, both exploring the

Whether consciously or coincidentally, the two main groups in Kalyani have translated into Bengali plays by American authors with roots outside the US, both foregrounding women in conflict zones. Natyacharcha

For those who aspire to write popular domestic drama, the recipe doesn’t demand much. Just get the main characters into various crises as follows: 1) an elderly parent in poor

Once halls started taking bookings again post-lockdown, several groups strategized a pragmatic solution to their unpreparedness after the long, forced hiatus by joining hands to present double bills of one-act