India International Centre New Delhi, recently organised an evening evening with Javed Akhtar, where the celebrated poet recited his outstanding poetry and conversed candidly with Anil Shrivatav and audience.
Shri Shyam Sharan, President India International Centre introduced the legendary poet and writer Javed Akhtar as apart from being an author and a poet, was also an outstanding lyricist, script writer who has been awarded with several awards and honors from home and beyond.
Anil Srivastav, engaged with Javed Akhtar in a candid conversation as he talked against casteism and fundamentalism. He used the metaphor of toy very appropriately and said most of us are happy with toys as a child and not when grown up.
He said lineage, heritage didn’t give any pride as the genes are not as important as the environment of poetry that made him. He recited wonderfully with great sensitivity two of his brilliant poems, waqt(Time) and Anshu(Tears) to the appreciative audience overflowing in the auditorium.
He took it as a compliment when asked by Allok Srivastav that though he calls himself an atheist still he wrote of Lord Shiva’s tandava, He went on to say that an author has to write differently in different situations that the script demands. He made an extremely significant statement that , “We have to surrender to time and norms.” And also mentioned that we are living in a bubble and everyone wants to be victorious. Instead we have to look for yesterday’s innocence, respect, honesty and surrender. He talked of the golden era of Hindi film songs with great appreciation as common people don’t attend philosophy classes but learn from good film songs.
One very significant statement the erudite poet mentioned is that Hindi and Urdu are of the same origin . Urdu is written in Persian script while Hindi is written in Devanagari and eventually the script is just Hindustani .According to him Hindi and Urdu merged together bringing the best poetry and literature though only time will tell what is good literature. With ghazals, nazm, shayari and splendid conversation a splendid evening passed in an overflowing auditorium with Jadunama or journey of Javed Ji in hands of the captive audience.
Mandira Ghosh
Note Jadunama is about a writer, poet, lyricist, and political activist. It is also about this one man’s struggle since childhood to become what he is today and to create a hallmark of success in everything he does. Named Jadu at birth, it was Javed sahab’s father, Jan Nisar Akhtar’s poem, ‘Lamha, lamha kisi jadoo ka fasana hoga (Every moment will be the story of a certain magic)’ that was the inspiration behind the name. When the little boy was in kindergarten, everyone realised that Jadu was not a serious name and to have a word as close to Jadu as possible, he was renamed Javed (meaning ‘eternal’), Akhtar (meaning ‘star’)—Eternal star! Not only has he remained in the limelight ever since, he continues to shine brightly like the eternal star!
Javed Akhtar (born 17 January 1945) is an Indian screenwriter, lyricist and poet. Known for his work in Hindi cinema, he has won five National Film Awards,[1] and received the Padma Shri in 1999 and the Padma Bhushan in 2007,[2] two of India’s highest civilian honours.
Playwriting for Children
Its 2017, a time to retrospect in the new year and yet bask in the old. I was rummaging through my old files on the internet and came across a few plays I had written for children. It was both enlightening and amazing to see the play across the screen, I re read them renewed interest…yes they spoke…I could see the language across the stage, the actors and the magical sets with the green yellow hues across the stage and the twinkling lights. Each one of the childrens’ plays that had been written by me made sense to me and the actors. It made me wonder if they were worth publishing and whether it would be liked by others. I was just not sure, since such few plays are actually published and find their way into the market.
So essentially what makes a good play script for children? What makes it “tick”? What will create an market for the scripts to be published. This reminds me an incident that made me realize what “ not to do “ in a children’s play.
In my early years of my career as a theatre person I was teaching drama for children between the kids of 8-14 in a prestigious school in Gurgaon. The principal, a very uptight and proper person requested me to write a script on Mother’s day. I was excited since I really had not written much before it would be challenging to write something that was interesting enough to watch. I decided to write a script set in contemporary Urban India, a place like Gurgaon and then use an ancient time period as the main episode in a flashback. So I decided to show the changes in time by changes in the way we speak English. After much deliberation I decided to use slang and words like “ cool” “ dude” “ yaar” etc in my script. I thought I had created a masterpiece. Actually I was quite delighted.
I was surprised that the principal called me to her room, I was confident that she had liked the script so much she wanted to congratulate me in person. As soon as I walked in, she seemed a trifle upset and set the script before me. I was shocked to see my entire script covered in huge red circles. Cuts and cross marks all across the page. It looked like my the results of class tenth maths exam paper. Each of my contemporary words had been circled and crossed out. I was indignant..all I could say was “ why…”. She sternly told me how improper my English was and how I could no use such words. She insistent that I choose not to use any colloquial language in my script since “ it would spoil the vocabulary of the children.” I tried to reason out with her that since the play was set in urban Gurgaon the actors had to use such words. But my protests was put down by her adamant refusal to see reason.
That incident made me realize that something was wrong in the way people understood children’s scripts. They read it through the spectacles of an adult and forget that they are first and foremost plays meant for young actors. Hence plays written for children need not follow rules of grammar and conventional usage of speech. Neither they need to make sense, for example, in the musical Wizard of Oz, the girl is thrown a tornado and her whole house is lifted in it. Charlie and the Chocolate factory we see Agustus Gloop being thrown into the rubbish bin by squirrels. All they need to be is appealing to the child and the adult viewer. They need to interesting! In all my plays that I have written for kids, I have only kept the child in mind and shall continue doing so
I would like to end this by only giving the 10 golden pointers to be kept in mind while writing children’s plays.
1) Do not be afraid of using contemporary language and one can even throw in few phrases in Hindi, if the need be. Make it Hinglish if you want.
2) Children love comedy. They might not have the same taste as adults and might find things like “ farting” “ throwing up” comic. Add them to the script, they just add to the flavour. Please do not become prudish.
3) Another thing that fascinates children is the idea of mystery and surprise, you can use them too.
4) One should avoid, small sentences. We sometimes like to say a lot when we try and explain things. For eg. If a child has to say, “ ma I will back soon.” He can say, “ ma I will be back soon…please don’t die worrying don’t go out me and ringing up all the neighbours and searching for me all over the block. I will be back by 7 and that’s a promise!”
5) Do not worry about repeating yourself. For eg. Son says, “fine”. It can be; son says, “ fine ma…ma fine…are you listening FINE!”
6) Do keep it in mind that adults will also watch your show, so you can throw punches at them which might make them laugh. For eg. Son: Ma, why do all mothers have to say that you must eat dal, roti chawal…why can’t they say we will make healthy home made pizzas for dinner tonite! OK I DONT MIND EATING A DOUBLE CHEESE PIZZA WITH BROCOLLI TOPPING!!!
7) Don’t be eager to finish the script in 3 pages, any good script should be at least 10 pages long, 12 font roman single spaced.
8) Dont forget minor characters…please don’t make children into trees and make them wave their hands in the air doing nothing, make it interesting like a “ old white haired talking tree” or a “ saucy sarcastic cactus”.
9) Do add a song or a jungle or some silly rhymes they make the script more readable and watchable.
10) Last but not the least, enjoy the task…and forget daunting principals…goodluck!!!
Kala Sankul Monthly Seminar: Preserving Indian Cultural Values in Dramatic Writing
New Delhi | April 26, 2026
In a dignified, intellectually vibrant, and culturally enriching atmosphere, Sanskar Bharati’s Kala Sankul successfully organized its prestigious monthly seminar at Kala Sankul, 33 Deen Dayal Upadhyay Marg, New Delhi.
Kala Sankul’s monthly seminar series is dedicated to creating a meaningful cultural platform where artists, scholars, writers, and intellectuals come together to discuss contemporary challenges related to Indian art, literature, theatre, and heritage. Through these regular seminars, Kala Sankul aims to strengthen cultural consciousness, inspire creative dialogue, and preserve India’s timeless civilizational values for future generations.
This month’s compelling theme, “Challenges in Preserving Indian Cultural Values in Dramatic Writing,” inspired deep reflection and scholarly discussion among distinguished participants.
A Traditional and Auspicious Beginning
The seminar commenced with the traditional ceremonial lamp lighting, symbolizing knowledge, wisdom, and the continuity of India’s cultural legacy. The inaugural ceremony was graced by senior theatre personality Mr. Suman Kumar, Sanskar Bharati’s Central Office Secretary Mr. Ashok Tiwari, National School of Drama Repertory Chief Mr. Rajesh Singh, and renowned Kathak exponent Pratibha Ji. Their presence added immense grace and significance to the occasion.
Powerful Reflections on Indian Theatre and Cultural Preservation
As the chief guest and keynote speaker, Mr. Suman Kumar delivered a deeply insightful address, emphasizing that Indian theatre is not merely an artistic medium but an inseparable part of the nation’s cultural heritage. He observed that in an era shaped by globalization and rapid modernization, preserving the essence of Indian cultural identity in dramatic writing has become increasingly challenging.
He strongly asserted that playwrights and theatre practitioners bear a moral and creative responsibility to protect and promote Indian values through their literary and theatrical works. Drawing inspiration from folk traditions, indigenous narratives, and Indian philosophical thought, he noted, can make dramatic writing more authentic, impactful, and culturally rooted.
His central message resonated strongly:
Creative expression must serve as a powerful vehicle for preserving India’s cultural soul.
A Shared Intellectual Vision
The seminar witnessed unanimous agreement among scholars, artists, and cultural thinkers that the new generation of playwrights must remain deeply connected to their cultural roots in order to create meaningful, relevant, and enduring theatrical literature.
Expertly Conducted and Thoughtfully Moderated
The event was skillfully conducted by the accomplished compere Bharti Dang Ji, whose eloquence added vibrancy to the proceedings. The discussions were effectively moderated by analyst, social thinker, and young litterateur Mr. Varun Soni, who provided intellectual depth and direction to the dialogue. The formal vote of thanks was gracefully presented by dancer Shruti Sinha.
Distinguished Presence from the Cultural Fraternity
The occasion was further elevated by the presence of numerous eminent personalities from the fields of art, literature, and theatre, including Odissi dancer Dr. Chandana Roul, sitar maestro Mr. Umashankar Ji, senior journalist Anita Chaudhary, Mrs. Renu Khantwal, theatre artist Bhupesh Joshi, Mr. Divakar Dubey, Mr. Praveen, and several other respected dignitaries.
Behind the Success
The successful execution of this intellectually significant seminar was made possible through the dedicated contributions of Garima Rani, Sneha Mukherjee, Ritambhara, Sakshi Singh, Priyanka Poudel, Deepika Thakur, and Swati Sharma, whose efforts were widely appreciated.
A Continuing Commitment to Cultural Awakening
In conclusion, participants strongly emphasized the importance of organizing such seminars regularly, recognizing them as essential forums for promoting artistic awareness, preserving cultural values, and nurturing India’s rich intellectual and creative traditions.
Kala Sankul continues to emerge as a vital force in shaping cultural discourse and reinforcing the foundations of Indian artistic heritage.
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The event commenced with the traditional ceremonial lamp lighting, graced by chief guest and senior theatre personality Mr. Suman Kumar, Sanskar Bharati’s Central Office Secretary Mr. Ashok Tiwari, National School of Drama Repertory Chief Mr. Rajesh Singh, and renowned Kathak exponent Pratibha Ji. This auspicious beginning set the tone for an engaging and meaningful discourse.
In his keynote address, chief guest Mr. Suman Kumar emphasized that Indian theatre’s rich legacy forms an inseparable part of the nation’s cultural heritage. He observed that in an era increasingly influenced by globalization and modernity, preserving the essence of Indianness in dramatic literature has become a profound challenge. Nevertheless, he stressed that playwrights and theatre practitioners carry a moral responsibility to safeguard and promote Indian cultural values through their creative expressions.
He further highlighted that drawing inspiration from folk traditions, indigenous narratives, and Indian philosophical thought can significantly enrich dramatic writing, making it more vibrant, authentic, and impactful. Other speakers and participants echoed similar sentiments, agreeing that emerging playwrights must remain rooted in their cultural foundations to create meaningful and powerful theatrical works.
The seminar was skillfully anchored by noted compere Bharti Dang Ji, while analyst, social thinker, and young litterateur Mr. Varun Soni effectively moderated the discussions, ensuring a dynamic and insightful exchange of ideas. The formal vote of thanks was delivered by dancer Shruti Sinha.
The occasion witnessed the esteemed presence of several prominent personalities from the fields of art, literature, and theatre, including Odissi dancer Dr. Chandana Roul, sitar maestro Mr. Umashankar Ji, senior journalist Anita Chaudhary, Mrs. Renu Khantwal, theatre artist Bhupesh Joshi, Mr. Divakar Dubey, Mr. Praveen, and many other distinguished guests.
The successful execution of the seminar was greatly supported by the dedicated efforts of Garima Rani, Sneha Mukherjee, Ritambhara, Sakshi Singh, Priyanka Poudel, Deepika Thakur, and Swati Sharma, whose contributions were widely appreciated.
Concluding the event, participants collectively emphasized the importance of organizing such seminars regularly, noting that these intellectual and cultural exchanges provide renewed direction, inspiration, and momentum toward preserving and promoting India’s artistic and cultural consciousness.
“Astitva” – A Powerful Theatrical Reflection on Struggle, Identity, and Survival
On 16th April, at Muktadhara Auditorium, Gole Market, New Delhi, Drishyam Trust presented the poignant play “Astitva”, written and directed by Sampa Mandal. The production emerged as a deeply moving theatrical experience that explored the emotional and socio-economic struggles within a fragmented family structure.
Set against the backdrop of a Bengali household, Astitva unfolds the story of a family that, despite having several members, lacks a stable male figure to shoulder responsibility. At the center of this narrative is Shabbo, a resilient woman who becomes the sole pillar of the household. Through her journey, the play examines themes of sacrifice, gender roles, emotional neglect, and survival under pressure. Her children—Nirmala, Parvati, and Abhijeet—represent different shades of vulnerability and conflict, while the absence and indifference of the male members intensify the crisis within the family.
As the narrative progresses, Shabbo is seen working in others’ homes to sustain her family, often borrowing money and enduring humiliation. The play skillfully portrays how even in such dire circumstances, familial bonds weaken instead of strengthening. The climax is both tragic and thought-provoking, culminating in Shabbo’s ultimate act of despair, leaving the audience shaken yet introspective about societal apathy and the cost of silent endurance.
The performances were sincere and emotionally grounded. Shikha Arya, as Maa (Shabbo), delivered a compelling portrayal filled with depth and restraint. Harsh Sharma (Subhash), Mani Thareja (Nirmala), Astha Sharma (Parvati), and Gagan Chaudhary (Abhijeet) contributed effectively to the layered family dynamics. Sachin Kumar (Mama) added nuance to the unfolding tension. The ensemble of neighbors—Koyena Mondal, Kiran Sharma, Megha, Prashant Kumar, Muhammad Siraj, Laxmi Khang, and Shamshad Ali—brought a sense of realism and community presence to the stage. The child actor Daksh Sharma stood out with a natural and unaffected performance.
Behind the scenes, the technical team played a crucial role in enhancing the narrative impact. Aditya Mukul (props) ensured authenticity in the visual detailing, while Arun Mishra’s costume design reflected the socio-economic background of the characters effectively. The set designed by Sudeep Biswas remained minimal yet functional, allowing the performances to take center stage. The music, curated by Sampa Mandal, subtly heightened the emotional undertones without overpowering the scenes. Video support by Saif Ali Khan and poster design by Gagan Chaudhary complemented the production aesthetically. Shikha Arya, as Assistant Director, provided strong support in maintaining the coherence and rhythm of the performance.
At the conclusion of the play, the evening was further marked by a gesture of appreciation, as the artists were felicitated with certificates by senior theatre practitioners Shyam Kumar and Dr. Satya Prakash, acknowledging their dedication and contribution to the theatrical arts.
What makes Astitva stand out is its unflinching honesty. It does not rely on dramatic exaggeration but instead presents a stark, realistic portrayal of life’s hardships. The play raises important questions about familial responsibility, societal indifference, and the emotional toll of unacknowledged labor—especially that of women.
In conclusion, “Astitva” is not just a play but an experience that lingers. It compels the audience to reflect on the meaning of existence, dignity, and human connection. Drishyam Trust’s presentation, under the thoughtful direction of Sampa Mandal, succeeds in delivering a performance that is both artistically rich and socially relevant.
“Gutur-Gu! Gutur-Gu!” — A Playful Symphony of Laughter, Music and Meaning
In a theatrical landscape where comedy often skims the surface, “Gutur-Gu! Gutur-Gu!” stands out as a refreshing blend of humour layered with emotional depth. This vibrant production, presented by Modern School Old Students’ Association as its landmark 60th show, was staged at Shri Ram Centre, New Delhi from April 2 to 4, 2026. What unfolded on stage was not just a comedy of situations, but a carefully crafted experience that kept the audience laughing, reflecting, and thoroughly engaged.
Presented under the direction and design of J. P. Singh, this production—originally based on Prof. Toradmal’s Marathi work—emerges as a lively Hindustani farcical comedy, with strong creative support from co-director Aditi Sharad. A seasoned theatre practitioner with nearly four decades of experience, Singh brings to the stage a keen understanding of rhythm, timing, and emotional layering. His direction ensures that the narrative flows effortlessly—never overstaying its welcome, never losing its energy. There is a sense of control and confidence in the staging that allows both humour and emotion to breathe naturally.
The play opens on a strikingly memorable note. Pradeep Kukreja’s poetic introduction is a delightful prelude that immediately wins over the audience. With a lyrical cadence and a sharp comic edge, his performance evokes laughter and applause in equal measure. It is not merely an introduction—it is an invitation into the world of the play, setting the tone with finesse and flair.
Set against the familiar yet ever-engaging backdrop of a university hostel, the narrative celebrates the carefree spirit of youth with infectious enthusiasm. The characters move through a world of friendships, harmless mischief, budding romances, and playful banter. These moments are crafted with such ease and relatability that the audience finds itself smiling in recognition. There is an unmistakable warmth in these scenes—an echo of shared memories and youthful abandon.
Yet, what elevates “Gutur-Gu! Gutur-Gu!” beyond a light-hearted comedy is its emotional undercurrent. Running parallel to the youthful vibrancy is the quieter, more introspective world of senior teachers. Their loneliness, their subtle anxieties about ageing, and their attempts—sometimes humorous, sometimes poignant—to reconnect with a fading sense of youth are portrayed with sensitivity and nuance. This juxtaposition creates a compelling duality: laughter on the surface, introspection beneath.
The ensemble cast delivers a consistently engaging performance, bringing authenticity and charm to every scene. The on-stage chemistry between Rashmi Vaidialingam, Sanjiv Saluja, and Attin Rastogi was exceptional, with their impeccable comic timing adding great charm to the performance. Sanjeev Saluja and Roopak Kathpalia contribute effectively with their nuanced performances, while Attin Rastogi adds a distinct presence on stage.
Among the younger ensemble, Sivain Vaidialingam, Sachin Wahi, and Sahil Arora infuse the play with energy and spontaneity. Their natural comic timing and effortless interactions make the lighter moments truly enjoyable. Vaidehi Sharma brings grace and balance to the narrative, while Rajkamal Sharma, Roopak Kathpalia, Kshitz Sanghi, Aakash Narula, Aarti Arora Khanna, Mohit Agrawal, Bhanu Sethi, Nandini Sharma, Pawan Kumar, Reet Bhatia and Ridhi Dish ensure that the ensemble remains cohesive and lively throughout.
One of the most delightful aspects of the production is its clever use of popular film tunes woven seamlessly into the narrative. These musical interludes act as emotional cues as well as comic enhancers—heightening the impact of scenes without ever feeling forced. At times nostalgic, at times playful, they keep the audience connected and add a rhythmic charm to the storytelling.
The technical aspects of the play—its stage design and lighting—are marked by a refreshing simplicity. Choreography by Bharti Dang. Rather than overwhelming the narrative, they complement it, allowing the performances and the writing to take centre stage. The pacing of the play is particularly commendable; it moves with a steady rhythm that keeps the audience invested from beginning to end.
What ultimately makes “Gutur-Gu! Gutur-Gu!” memorable is its ability to strike a delicate balance. It entertains without being frivolous, and it reflects without becoming heavy-handed. It reminds us that behind every burst of laughter, there often lies an unspoken truth—and it is in acknowledging both that theatre finds its true power.
In the end, this is not just a play you watch—it is an experience you carry with you. Light-hearted yet meaningful, humorous yet humane, “Gutur-Gu! Gutur-Gu!” leaves you smiling… and thinking, long after the curtain falls.
“Kala Sankul” in New Delhi Highlights the Role of Art in Society and Nation Building
Organized by Sanskar Bharati on 29 March 2026 in New Delhi, “Kala Sankul” featured a meaningful seminar alongside a vibrant cultural program, emerging as an excellent confluence of art and thought. The central theme of the discussion—“Indian Art Discourse and the Role of Artists in Nation Building”—sparked a deep and thought-provoking dialogue, highlighting the relevance of artistic expression in shaping society.
The evening began on a traditional note with the ceremonial lighting of the lamp by Chief Guest Mr. Ashish Kumar Anshu (Writer & Director), along with Digvijay Ji, senior theatre practitioner Shyam Kumar, and Mrityunjay Ji, setting a tone of dignity and cultural reverence. The moment was further marked by a warm gesture of respect, as Abhijeet Gokhale, All India Organization Secretary of Sanskar Bharati, felicitated the chief guest with an angavastram, symbolizing India’s rich heritage of honoring artistic excellence.
As the performances commenced, the stage transformed into a canvas of artistic brilliance. Renowned Kathak artist Ms. Sneha Sharma captivated the audience with a mesmerizing performance, where her command over expression (bhava), rhythm (laya), and intricate footwork (taal) reflected the timeless elegance of Indian classical dance. Each movement carried grace and precision, leaving the audience spellbound.
The energy of the evening took a vibrant turn with the Sambalpuri folk dance presentation by Kala Kalp Cultural Institute, which brought alive the spirit of folk traditions. The performance by Sudharani Geru, Supriya Pradhan, Dishita, Subhashree Sahoo, Deepshika, and Ipshita Behura was marked by remarkable synchronization, enthusiasm, and expressive storytelling. Their collective rhythm and colorful presentation beautifully reflected the simplicity and vitality of rural cultural life.
Adding intellectual depth to the evening, Chief Guest Mr. Ashish Kumar Anshu shared his thoughts on “Indian Art Discourse and the Role of Artists in Nation Building.” He emphasized that art is not merely a form of expression but a powerful medium of social transformation, urging artists to remain socially conscious and sensitive. His address was both thought-provoking and inspiring, leaving a lasting impact on the audience.
The flow of the program was seamlessly maintained by Kuldeep, whose engaging and effortless anchoring ensured a lively and cohesive experience throughout the event. The evening concluded on a serene and spiritual note with a Shanti Mantra presentation by Brijesh, filling the atmosphere with a sense of calm and introspection.
The success of the event was the result of the collective dedication and collaboration of numerous artists and contributors. Notable among them were Shyam Kumar, Raj Upadhyay, Vishwadeep, Jitendra Kumar, Shraboni Saha, Sneha Mukherjee, Garima Rani, Ritambara, Brijesh Vishwakarma, Vijender, and Harshit Goyal, whose unwavering support and commitment made the program both memorable and impactful.
In essence, “Kala Sankul” was more than just a cultural event; it emerged as a dynamic platform where art, thought, and society converged in meaningful dialogue, inspiring the audience with renewed energy and a deeper appreciation for the arts.
“Nadi Pyasi Thi”: A Hauntingly Beautiful Exploration of Human Emotions and Relationships
New Delhi | March 26–27, 2026 — The stage came alive with intensity and introspection as “Nadi Pyasi Thi, presented by the Disha Group of Visual and Performing Arts, unfolded as a deeply moving, thought-provoking, and emotionally layered theatrical experience. Supported by the Ministry of Culture, Government of India, the production was seamlessly coordinated by Dr. Satya Prakash Verma, directed with finesse by Suraj Kumar, and guided by Sampa Mandal, whose artistic vision resonated throughout the performance.
The play was staged on March 26 at Mitra Rangmanch Auditorium, Madhu Vihar, followed by an equally compelling presentation on March 27 at Padma Shri Daya Prakash Sinha Theatre Studio and Art Gallery, Bhajanpura, where it left audiences visibly moved and contemplative.
Rooted in the ideas of eminent writer Dharamvir Bharati, the play delves into the intricate psychological layers of orthodoxy, insecurity, and possessiveness that often shape human relationships. The central metaphor of the “river” is profoundly evocative—flowing endlessly on the surface, yet internally parched, symbolizing the unfulfilled desires and emotional void that linger within the human soul.
The narrative is driven by five key characters—Rajesh, Shankar, Sheila, Padma, and Krishna—portrayed with remarkable depth and authenticity by a talented ensemble cast. Suraj Kumar (Shankar), Gagan Chaudhary (Rajesh), Aditya Srivastava (Krishna), Megha (Padma), Disha Negi (Sheila), and Pushkar Sagar (Shankar/Doctor’s Assistant) delivered power-packed performances, marked by natural dialogue delivery and compelling on-stage chemistry, which brought the story vividly to life.
Behind the scenes, the technical team added significant value to the production’s emotional impact. Payal Dhirashri’s music beautifully underscored the narrative’s emotional depth, while Naresh Singh and Neera Singh’s lighting design enhanced the psychological nuances of each scene. Costume designers Nitish Jha and Anjana Tiwari ensured visual authenticity, and Sandhya Verma’s makeup lent a lifelike presence to every character.
Director Suraj Kumar deserves special mention for his restrained yet powerful storytelling approach. By steering clear of unnecessary theatrics and focusing on the core emotional essence, he ensured that the narrative remained intimate, immersive, and impactful. The fluid scene transitions, controlled pacing, and rhythmic dialogue delivery kept the audience engaged till the very end.
In essence, “Nadi Pyasi Thi” is more than just a play—it is a poignant mirror to the human condition, reflecting the complexities of the mind, the fragility of relationships, and the silent struggles within. With its compelling narrative, nuanced performances, and thoughtful direction, the production stands out as a memorable and soul-stirring theatrical experience.
Chitralekha on Stage: A Deeply Reflective Theatrical Experience
On March 25, 2026, at the Muktadhara Auditorium, Gol Market, New Delhi, an evocative cultural evening unfolded with the presentation of “Chitralekha” by the Anuragna Theatre Group. Based on the timeless novel by Bhagwati Charan Verma, the play was skillfully Adapted & Directed by Ashraf Ali, who brought a balanced, sensitive, and deeply engaging vision to the stage.
The performance stood out as a serious and intellectually stimulating theatrical experience, exploring the complex philosophical dilemma of sin and virtue. Through a simple yet powerful narrative style, the production kept the audience engrossed till the very end, encouraging reflection rather than offering easy answers.
The evening commenced with a traditional lamp-lighting ceremony, graced by eminent personalities including Senior Litterateur and Playwright Dr. Pratap Sehgal, Senior Litterateur and dramatist Dr. Harisuman Bisht, Senior Critic Anil Goyal, Playwright Rajesh Kumar, and Veteran Theatre Director Shyam Kumar. All the distinguished guests wholeheartedly appreciated the production, describing it as a powerful and contemplative work, and strongly recommended its restaging for wider audiences.
At the heart of the play were its three central characters—Chitralekha, Beejgupt, and Kumaragiri—through whom the philosophical depth of the narrative unfolded compellingly. Paribhasha Mishra, in the role of Chitralekha, delivered a nuanced performance, beautifully portraying grace, allure, and inner conflict. Her emotional depth and command over stage presence were particularly striking.
Rajesh Bakshi, as Beejgupt, delivered a standout performance marked by confidence, impactful dialogue delivery, and a commanding stage presence, making his character a strong focal point of the narrative. Meanwhile, Ankit Sati, portraying Kumaragiri, brought forth the essence of renunciation, introspection, and inner turmoil with remarkable restraint and seriousness, adding depth to the play’s philosophical dimension.
Supporting actors including Chirag Goyal (Shwetang), Akash Bhardwaj (Vishaldev), Khilkanand Bhatt (Ratnambar), and Vinay Kumar (Mrityunjay) contributed effectively, ensuring that the overall performance remained cohesive and engaging.
From a technical standpoint, the production was equally impressive. The lighting design by Divyang Srivastava played a crucial role in enhancing the emotional tone of each scene, while the music by Bharat Kumar deepened the overall atmosphere. The set design by Kamal Negi, along with costumes by Golu and Fahad Khan and makeup by Ravi Parcha, collectively created a vivid and immersive stage environment.
Overall, this staging of “Chitralekha” emerged as a meaningful and thought-driven theatrical experience. It reaffirmed that theatre is not merely a medium of entertainment, but a powerful platform for shaping thought and reflecting society. The Anuragna Theatre Group’s effort succeeds in leaving a lasting impression on its audience.
Indian New Year Cultural Evening at “Kala Sankul”: A Graceful Confluence of Tradition and Classical Aesthetics
New Delhi, March 19, 2026 — Marking the auspicious occasion of the Indian New Year, a grand cultural evening organized by Sanskar Bharati – Kala Sankul transformed the capital’s cultural landscape into a vibrant celebration of heritage and artistic excellence. The Indian New Year is not merely a change of date; it symbolizes renewal, cultural awakening, and a reaffirmation of timeless values.
Celebrated on Chaitra Shukla Pratipada, which heralds the beginning of Vikram Samvat 2083, the event was hosted at the central office auditorium of Kala Sankul, located on Deen Dayal Upadhyay Marg. The evening stood as a vivid reflection of India’s rich traditions, classical art forms, and cultural consciousness.
The program commenced with a ceremonial lamp lighting by Chief Guest Shri Ravi Shankar, Director of Sanskriti Adhyayan Kendra and Editor of Ganananchal, along with Shri Ashok Tiwari (Central Office Secretary, Sanskar Bharati), renowned dancer Shruti Sinha, and senior theatre practitioners Raj Upadhyay and Shyam Kumar.
The highlight of the evening was a series of captivating Kathak performances. Smt. Sangeeta Dastidar mesmerized the audience with her powerful and emotive presentation, marked by depth, discipline, and remarkable stage presence. Her performance elevated the artistic tone of the evening. Sh. Akshar Tekchandani enthralled the audience with his dynamic expression, showcasing a refined balance of rhythm (taal), tempo (laya), and emotion (bhaav).
In his address, Chief Guest Shri Ravi Shankar eloquently spoke about the cultural and scientific significance of the Indian New Year. Emphasizing the relevance of traditional Indian timekeeping systems, he advocated for their revival and deeper integration into contemporary life, especially among the younger generation. His speech was both enlightening and inspiring.
The event was gracefully anchored by Shraboni Saha (Mun Mun), whose articulate presentation added coherence and charm to the proceedings. The vote of thanks was delivered by Shruti Sinha, followed by a serene rendition of the Shanti Mantra by Brijesh.
The success of the evening was made possible through the collective efforts of numerous artists, theatre practitioners, and contributors, including Raj Upadhyay, Shyam Kumar, Jitendra Kumar, Bharti Dang, Sneha Mukherjee, Nandini Kumari, Tarushi Singh Rajora, Sakshi Sharma, Lavanya, Garima Rani, Brijesh Vishwakarma, Vijender, and Harshit Goyal.
Overall, the cultural evening at Kala Sankul emerged as a dignified and impactful celebration of the Indian New Year—strengthening the bond between people and the rich artistic and cultural traditions of India.
महत्वाकांक्षी – MAIN- THE AMBITIOUS ME
VOICE ARISES FROM NOWHERE-
From the vicinities of the dark, where darkness empowers, there was a sudden jolt thunder struck, and she came, laboured with the sense of being heavy, fraught with difficulties and screamed…”I have not done anything…be just be fair and tell me why am I exiled. The indestructible force of nature, let me know what have I done to receive this? Laughter? you laugh at my plight? who are you? well I am the one whom you do not want to know —dear— there is not way I reason out my existence but I do exist…I am the self-centered, the ghoric woman who wished for the longevity of my son…what’s wrong in it? he deserved it. He was strong and so he won… and I? I was defamed all over just because of my desire to have him? why? It is important that we all engage in ratiocination. Is it bad to be bad? justice is served ONLY when you be vicious.
“Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty!” “Come to my woman’s breasts, And take my milk for gall, you murdering ministers…”
“What’s done cannot be undone.” (VERY SOFTLY BUT EMPHATICALLY)
WHY? Why Why do you think so? I can turn the tables…I know I can plunge on goodness and make it helpless
I can make the good- the CRASS.
(hysterical laughter from nowhere)
Your crudity, got you noseless mind you madam.
It is not crudity that can bring you the filthy victory that we long for since time immemorial
It is diplomacy…the main motto of one’s life should be how to be nasty under the garb of politeness.
The shrewd manoeuvring that can bring marvellous results…
I can motivate goodness, mind you, not provoke it but manipulate it to discard its smooth skin and evince its crudity.
SCENE IN A STAFFROOM-
1- Please dear, understand! I have deleted those files!
2-But you had them with you!
(diabetically) No dear! There is no way! I do not have them with me at all. It is vital that you understand my issue.
Oh! No!
No worries! Call her and tell her!
But she will be annoyed.
Not at all. I know she will understand.
Ok. (calls) Ma’am, I have to tell you that I deleted those files! Sorry! But…
I will give you a MEMO. I do not want to listen to anything! You are so horrible!
(sadly) sorry!
(Calls in a while to 1) Hey! Listen(with a nasty smile) I got the files on my computer. I have them with me. Do not worry. You send them to her.
Accha? (resigned tone) ok.
(After a few days…)
I heard 2 got promoted?
4-Yes indeed! She had it in her!
Yes. Indeed. She KNEW HER CRAFT WELL… (Background song- Sabkuch seekha humne…na sikhi hoshiyari…sach hai duniyawalon ke hum hain anari…)
THE VOICE IS BACK-
See! You do not need to be RUDE – GHORY!!!!!! (STRETCH)
You need to be NASTY- BE NASTY-
SCENE IN A HOME
Hi!
Hello!
Your voice is so sweet
-Oh is it?
It is music to my ears!
Why are you doing this with me? Flirting?
No! I am sincere. In fact, I wanted to tell you… I want a lifetime companionship with YOU!
OK. So come let us marry.
Marry? No. No.
What is lifetime companion then?
Friendship! Obviously! How foolish of you to think it this way. I never meant it
But…you said it and I know it that you meant marriage.
See it is a matter of interpretations.
But I could hear it in your expressions!
You are very emotional, don’t be. Enjoy your life.
(TO THE AUDIENCE) I know he meant it! I could read it in his lines…the way he spoke but I cannot make anyone explain. Anyways, I invested. I am so sorry!
(After some days…)
What? The show was a superhit? Is it?
Yes!!! God is so kind. It is very important.
Yes. God is very kind to give people success…UNDESERVING…UFF!
Let it be. Leave it.
VOICE- See! Goodness is a piece of ——— whatever you want to call it. It is not important or worthy. Nastiness counts. It is the need of the hour. It is mandate. If you are not nasty who cares for you? Who likes you? Who loves you? Goodness gets paid is a MYTH. The most successful people are those who are nasty- Who is not ambitious today? Everybody is? But is it necessary to be this foul? Well, the answer is YES. IF YOU ARE NOT FOUL…YOU CANNOT BE FAIR—FOR- FAIR IS FOUL AND FOUL IS FAIR.
Enter a beautiful lady wearing a white gown…I have sown the seeds of his downfall. By giving me his word, he has planted his own destruction. My interest needs to be secured. So, Oh! the great King hear now carefully. Your beloved son will be exiled and my beloved son will inherit your property. (silence all around and there enters a haunch back woman. Now she speaks aloud and confidently) So, I fed it in her mind to make him realize he owned her three promises. See! It worked! I knew the King was very true to his word. He would die but break his promise. So simple and truthful…hahahahaha. (a voice utters) I HAVE BRAINS YOU KNOW….YES. I AM NASTY/VERY VERY NASTY.
ENDING SCENE – DARK HUMOUR, MYTH, AND MODERNITY COLLIDE
(Lights flicker. A low, echoing drum. The white-gowned lady freezes mid-smile. The hunchback woman’s laughter stretches into a distorted echo. Suddenly—another presence. A blazing red light floods the stage.)
ENTER – A WOMAN IN FLAMES (SYMBOLIC DRAUPADI ENERGY, NOT NAMED) Her hair is open. Her voice—like thunder restrained.
WOMAN IN FLAMES (calm, terrifying): Cloth…you gambled with cloth once. Today…you gamble with conscience. Tell me…how many times will you strip truth… and still call it diplomacy?
(Silence. The nasty voice chuckles.)
VOICE (mocking): Oh please…not another sermon. We’ve moved on. This is not some epic age. This is performance appraisal era. Targets. Promotions. Alignments. Survival.
WOMAN IN FLAMES (steps forward): And yet… every time deceit wins, a war begins somewhere.
(A pause. The hunchback woman circles her.)
HUNCHBACK WOMAN (smirking): War? No dear… War is outdated. Now we have subtle destruction. Emails. Silence. Smiles. (leans in) CC and BCC are the new weapons.
(Audience laughter—dark.)
CONTEMPORARY SCENE (PARALLEL DIALOGUE)
(Two office colleagues—1 and 2. Soft white light.)
1: Hey…you handled that meeting brilliantly!
2 (smiling): Oh thank you! Means a lot.
1: I told the boss it was all your idea.
2 (genuinely touched): Really? That’s so kind of you…
(Pause. 2 exits. 1 turns slowly to audience, expression shifts.)
1 (whispering): Of course… I also told him she missed the deadline. Balance, you see.
(Lights dim on 1. A notification sound echoes.)
BACK TO CENTRAL CHAOS
(All characters now on stage. Overlapping voices. The nasty voice rises again.)
VOICE: See? SEE? No blood. No battlefield. Still…complete annihilation. This is evolution!
(The woman in flames raises her hand. Silence crashes in.)
WOMAN IN FLAMES (soft but piercing): And yet… You tremble when alone. Because somewhere— you know… even victory has a witness.
(A long pause. The white-gowned lady falters.)
WHITE-GOWN LADY (almost breaking): But…if I hadn’t done it… I would have lost everything…
VOICE (interrupting sharply): Exactly! That is the point. Lose them before they lose you.
(Suddenly, the background song returns faintly: “Sabkuch seekha humne…” but distorted, almost mocking.)
FINAL TURN – DARK HUMOUR PEAK
(All lights focus on the hunchback woman. She straightens slightly—almost regal now.)
HUNCHBACK WOMAN: Morality is a luxury item. Not everyone can afford it.
(She looks at the audience directly.)
HUNCHBACK WOMAN (smiles): So… what will you choose? Promotion…or peace?
(Beat.)
VOICE (whispers from everywhere): Careful… Peace has no incentives.
LAST IMAGE
(The woman in flames begins to fade… but her voice lingers.)
WOMAN IN FLAMES (echoing): Every act writes a war… even if no one fights it…yet.
(Blackout.)
A FINAL LAUGH—UNCERTAIN WHETHER IT IS TRIUMPH… OR DOOM.
ULTIMATE LAST MOMENT (AFTER BLACKOUT… A SINGLE SPOTLIGHT RETURNS)
(Complete silence. Then—her voice. Not loud. Not hysterical. Controlled. Owning everything.)
VOICE (slow, deliberate, almost intimate): Mahatvakankshi… main.
(Pause)
Yes… I desired. Yes… I planned. Yes… I became.
(A faint, unsettling chuckle)
तुम सब भी हो… बस स्वीकार नहीं करते।
(दृढ़स्वरमें) फ़र्क सिर्फ इतना है— मैंने अपनी इच्छाओंको नाम दिया… और तुमने उन्हें नीति कह दिया।
(एकअंतिम, तीखावाक्य) महत्वाकांक्षी मैं हूँ… और शायद… सबसे ईमानदार भी।
(A sharp sound—like a stamp of finality. Lights out.)
JODAE E- SARDAR- NOT A Play- AN EYE OPENER
A few sentiments often expressed non-verbally make more sense than those expressed verbally. This is true indeed but nonetheless; there are some emotions that sprout in our hearts and blossom only when they are expressed or else they hover around us making us more and more restless. Such is the power of organic art that the recipient is motivated to verbalize its effect dispensing with the requirement of diplomacy or tactic of any kind. I feel, like an unadulterated attempt with a known script based on a biography of an extraordinary leader, today’s play Sardar based on Shri Vallabbhai Patel’s life legacy, Jodae – e- sardar (Play presented by Gujarat Rajya Sangeeta Natak Akademi Gandhinagar Directed by revered theater director Manish Baradia) emerged as a spectrum of empathetic delight rousing patriotic emotions leaving behind any biased or jingoistic assertion on Indian freedom fight. The play was proudly presented by Sanskardham, an educational institution that fosters the holistic development of compassionate, innovative, and competent thinkers – Ahmedabad. The institution’s effort to house the production of this play in its premises is indeed a step towards cultivating NEP 2020s virtue of ensuring that our students become empathetic citizens. It is not simply a retrieval of history that can enable the youth of today to reflect on ethical goals of life. It is reliving its essence. Jodae-e- sardar proves it.
Putting forth a strong critique of the British atrocities meted out in India during a particular time period when struggle for independence was the salient feature of the Indian nation [and hence the goal of many visionaries like Gandhi and Sardar Patel] the play nowhere forces us to psychologically or pragmatically make any attempts to imagine a decolonized India. It instead convinces us that the choice that a leader makes at a certain time period is an outcome of the socio-political historical context and situation that has nothing to do with any cultural, social or national prejudice. Sardar is one such play that ceases to advocate any anti-British or anti-Pakistani terrain in spite of apparently propagating the majestic leader Sardar Vallabbhai Patel’s anti-British or anti-Pak credence that manifested itself in the form of Gandhian Satyagraha. Comprehending the unmixed meaning of Satyagraha as an uproar against ‘injustice’ more than against ‘anybody’ the play becomes a mirror of the inspiring leader’s journey from being a fearless lad who fiercely burns his abscess with a hot iron rod to his transformation into a colossal and formidable Sardar who fights for justice and wins the Bardoli Satyagraha.
Another striking feature the play brings forth is Sardar’s education as a lawyer depended upon borrowed books from his fellow mates since he could not afford buying them, the play has it in the form of the most memorable dialogue, “The man who completed his education borrowing books from others, has his place in history books today.” What a remarkable feature of his life. Perhaps many of us would not have known such a facet of the life of this praiseworthy man.
The backbone that stands with him, his wife Zaverba creates a short but an unforgettable impact with her memorable dialogue, “Jeevan na chella shwas sudhi” which acts as a strong source of Sardar Patel’s sacrifice of spending his life in her memory after her death and fostering his children. What becomes noteworthy is that when he receives the news of his wife’s demise, he is in a court fighting a case and chooses to execute his duty rather than getting immersed in sorrow; a very painful sacrifice.
This renunciation or sacrifice continued as Sardar decided to join the freedom struggle against the British rule, participating in each of India’s major fights against the British rule boycott of the Simon commission, The Quit India movement etc. earns respect for him as an important leader among the major freedom fighters of India. Governed by the sole objective of making the country independent, Sardar Patel finally emerges as the guardian of India when the play shows his indelible contribution in retaining India’s unity in spite of the innumerable attempts to fragment India that was one of the most prominent set backs India could have witnessed after its independence.
Certainly, the entire play admirably fertilizes aggression of Indian independence protests and struggle. The boycott of the British rule through the upholding of SWADESHI movement- Charkha, Khadi etc. is musically and dramatically depicted through dance instead of making it a vehement protest on the stage which could have given it a cliché appearance. The director smartly dilutes the tension of a serious subject matter through intermittent insertion of playful music and dance wherein the dancers through the bright costumes and impressive moves not only brings contemporary appeal for the youth watching the drama but also sieves the qualities of a period drama and saves it from being typecasted as a history play. Instead, Jodesardar manages to make us admire our leader who left us the priceless treasure of independence without amassing any wealth for himself. The closure of the play with his daughter’s beautiful words, “aaje amari pita putri ni jodi tuti gayi’ brings tears in the eyes and we surely do not regret this transition from practical people to emotional humans. This is indeed what Sardar did to me.
I profoundly realized how vital it is to relive the memoirs of those leaders who fought for truth and honesty and who enlightened the world that – Respect and love for a Nation is a matter of self-esteem and pride on our nation is our Birth right. This excludes personal interests and benefits and therefore, when Sardar Patel indubitably accepts Mahatma Gandhi’s decision to have Pandit Jawaharlal Nehru as the Prime Minister of India, he earns our admittance as the respected Chairman of Sanskardham Dr. R.K. Shah rightly stated- “ Had he been chosen, the condition of our country would have been different.”
Sardar is an eye-opener and not a historical account. A Must-watch. A brilliant story, a brilliant narration, a brilliant performance text that is a paradigm of an institution in theatrical excellence. When the closure of the play speaks – When after his death, it was found that his legacy had nothing but two pairs of clothes 160 rupees and one cow, we cannot help but weep at the greatness of this man and marvel at the prudence of the director who chose such episodes from the long life of this leader that could make this play truly memorable.
Dr. Payal Trivedi
A Celebrated Voice of Hindi Theatre Honoured: Jaivardhan (J. P. Singh) Conferred with Sahitya Bhushan Samman
On 14 March 2026, a dignified and culturally significant ceremony held at Crowne Plaza, Mayur Vihar, New Delhi, marked a proud moment for Hindi theatre as veteran playwright Jaivardhan (J. P. Singh) was conferred with the prestigious “Sahitya Bhushan Samman.” Organized by BPA Foundation and India Netbooks, the event brought together eminent figures from the world of literature and theatre, lending it both gravitas and warmth. The honour was presented by noted writer Mamta Kalia and distinguished playwright Pratap Sehgal, making the occasion even more memorable.
This recognition stands as a fitting tribute to Jaivardhan’s long and impactful contribution to Hindi dramaturgy. Widely known in theatre circles as J. P. Singh, he has carved a niche for himself through decades of dedicated creative pursuit. His body of work, comprising 22 full-length plays and 6 children’s plays, reflects remarkable thematic diversity, ranging from social and historical narratives to deeply psychological explorations. His writing is distinguished by powerful dialogue, strong characterization, and an inherent sense of stagecraft that makes his plays both intellectually engaging and theatrically effective.
Among his notable works are Jhansi Ki Rani, Arjent Meeting, Gandhari, Babu Harishchandra, Kissa Maujpur Ka, Kalpurush, Yugpurush, Paro, and Nirjan Karavas. These plays have been widely performed across India and abroad, demonstrating their enduring relevance and appeal. His successful dramatic adaptation of Munshi Premchand’s classic novel Godaan further highlights his creative versatility and sensitivity toward literary heritage.
Jaivardhan’s contributions have been acknowledged by several prestigious institutions over the years. He has received honours from the Uttar Pradesh Sangeet Natak Akademi, Uttar Pradesh Hindi Sansthan (Lucknow), and various theatre organizations in Delhi. Notably, the World Hindi Secretariat, Mauritius awarded him first prize for his play Kalachakra, and the Bhartendu Natya Akademi, Lucknow conferred upon him an honorary title, underscoring his stature in the field.
Beyond writing, his involvement in the administrative and cultural spheres has also been substantial. His long tenure of approximately 31 years with the Sahitya Kala Parishad, Delhi, significantly contributed to the enrichment of the capital’s theatrical environment. Currently serving as an Associate Professor in the Film and Drama Department at Amity University, Noida, he continues to inspire and mentor a new generation of theatre practitioners.
Jaivardhan is not only a prolific playwright but also an accomplished director and actor, embodying a truly multifaceted theatrical personality. The conferment of the “Sahitya Bhushan Samman” is therefore not merely a recognition of his individual achievements, but also a celebration of the enduring tradition of Hindi theatre—one that continues to reflect society, history, and human sensibilities with depth and power.
