At Kala Sankul, the art centre of Sanskar Bharati, New Delhi, a monthly symposium dedicated to folk arts and Indian cultural traditions was held on 23rd and 24th January 2026 on the auspicious occasion of Basant Panchami. Conducted in a dignified and emotionally resonant atmosphere, the two-day event emerged as a vibrant celebration of India’s folk consciousness, artistic devotion, and cultural memory.

The first day began with the ceremonial worship of Goddess Saraswati, invoking wisdom, creativity, and artistic insight. Scholars, artists, and cultural practitioners participated in the ritual, creating an ambience of serenity, contemplation, and spiritual warmth that set the tone for the days ahead.

The cultural evening on the second day, held at 5:30 PM, unfolded as a memorable showcase of India’s rich folk heritage. The programme commenced with the lighting of the ceremonial lamp by Sh. Ashok Tiwari, Central Office Secretary; Sh.Sanjay Kumar Poddar, Provincial General Secretary (South Bihar); Shruti Sinha, Symposium Convener; and Mrityunjay Kumar, Monthly Coordinator. Under the gentle glow of the lamps, the stage seemed illuminated by the very spirit of India’s folk traditions.

Folk vocalist Chandni Shukla captivated the audience with her melodious singing, reflecting the simplicity and sweetness of rural life. Her songs carried the fragrance of the soil and evoked memories of village landscapes. This was followed by a soulful Saraswati Vandana presented by renowned artist Amit Kumar, which filled the auditorium with devotion and reverence.

The sequence of folk dances presented a vivid tapestry of regional traditions. The Jhhijhiya dance, performed by Akanksha, Nishu, Dipriya, Rinkle, and Aastha from Purnia, beautifully expressed collective faith and folk spirit. This was followed by the energetic Jat-Jatin dance by noted folk dancers Uday Singh and Shruti Mehta, whose rhythmic vitality held the audience spellbound.

The Sama-Chakeva dance, performed by Shruti, Pratiksha, Rajnandini, and Shambhavi, conveyed delicate feminine emotions deeply rooted in folk life. The evening concluded with vibrant presentations of Jhumar and Kajri, filling the atmosphere with joy and festive exuberance.

These performances were not merely artistic displays but living expressions of traditions passed down through generations. Every rhythm, movement, and melody reflected the depth of India’s cultural memory.

The monthly symposium stood as a meaningful initiative towards the preservation, promotion, and transmission of folk arts to younger generations. The presence of art lovers, intellectuals, and young audiences added depth and significance to the event.

At the conclusion of the programme, all participating artists were honoured with ceremonial shawls by Abhijeet Gokhale, All-India Organisation Secretary, and Ashok Tiwari, in appreciation of their dedication and artistic commitment.

The programme was conducted with grace and clarity by Garima Rani, while Shruti Sinha, Symposium Co-convener, delivered the vote of thanks. The success of the event was made possible through the dedicated efforts of renowned announcer Bharti Dang, Programme Coordinator Mrityunjay Kumar, Brijesh Kumar, Harshit Goyal, Vijender Kumar, and Ritambhara.

This gathering became a cherished cultural memory—where folk art re-emerged with beauty, dignity, and heartfelt warmth.

Presented by Anuragna Theatre Group, Marilyn Monroe: My Crush was staged on 17 January 2026 at LTG Blank Canvas Studio, Mandi House, New Delhi. Written and directed by Ashraf Ali, the production offers a deeply sensitive and thought-provoking theatrical experience that peers behind the dazzling image of Marilyn Monroe to explore a woman’s identity, inner pain, and the roles imposed upon her by society.

Marilyn Monroe—celebrated globally as an icon of beauty, desire, and success—lived a life marked by loneliness, vulnerability, and constant control. The play reimagines this historical truth within a contemporary setting. The narrative unfolds around three young men sharing a room and their friend Malti, who, because of her appearance, is nicknamed “Marilyn.” Gradually, the nickname transforms into a role, and Malti begins to live the image projected onto her.

As the three male characters slip into the roles of men associated with Marilyn Monroe’s life, the stage becomes a space where more than dramatic events occur. Complex dynamics of love, power, attraction, and control surface with striking clarity. The play incisively reveals how society often reduces a woman to her image, ignoring her emotional depth and inner world. Malti’s eventual reclaiming of her identity forms the emotional and ideological climax of the performance.

Shriya Kumar, portraying both Malti and Marilyn Monroe, delivers a performance marked by profound sensitivity and intensity. Chirag Goyal, Bharat Kumar, and Prof. Sumit Nandan convincingly handle their dual roles, strengthening the play’s conceptual and emotional framework.

The technical design works in seamless harmony with the narrative. Manik Sharma’s music enhances the emotional transitions, while Rajesh Bakshi’s lighting design powerfully reflects the shifting psychological landscapes. Ankit Sati’s costumes and properties, along with Manisha Sharma’s makeup, lend authenticity and depth to the characters’ transformations.

Overall, Marilyn Monroe: My Crush emerges as a compelling, nuanced, and intellectually engaging production—one that humanely and respectfully brings to the fore the woman hidden behind the glitter of glamour, inviting audiences to reflect on identity, perception, and dignity.

Presented under the cultural initiative of Hindi Academy, Delhi, Anand Math by Theatre Actor’s Studio, staged on 6 January at Shri Ram Centre, Mandi House, unfolded as a profound, disciplined, and ideologically resonant theatrical experience. Based on the timeless novel by Bankim Chandra Chattopadhyay, the production rose beyond historical retelling to become a living reflection on sacrifice, moral conflict, and collective awakening

The adaptation by Ashraf Ali retains the philosophical gravitas and nationalist spirit of the original text while shaping it into a theatrically fluid narrative. Personal stories are intricately woven into the larger political and spiritual struggle, allowing the audience to engage with the material at both emotional and ideological levels.

Conceptualization and Direction by Rajesh Bakshi emphasize restraint, clarity, and ensemble harmony. Eschewing ornamental spectacle, Bakshi builds the production on inner discipline, rhythmic staging, and collective physicality. His direction reinforces the idea that Anand Math is not a tale of isolated heroism, but of shared resolve—an approach deeply aligned with the ethos of the Sannyasi movement.

The performance opened with a traditional invocation, immediately situating the audience within the spiritual and cultural world of the play. The presence of eminent guests— Former Hindi Academy Secretary Dr. Hari Suman Bisht, Senior Theatre Practitioner Shyam Kumar, Hindi Academy Secretary Sanjay Garg, along with Jagdish Sharma and Mridul Awasthi—added institutional dignity and cultural depth to the evening. The Hindi Academy platform itself underscored the literary and historical significance of the production.

Set in late 18th-century Bengal, amid famine, colonial exploitation, and social upheaval, the play traces the emergence of the Sannyasi movement. Within this expansive ideological canvas, the characters of Mahendra Singh (Raju Raje Singh) and Kalyani (Ritika Mishra) form the emotional spine of the narrative. Mahendra’s internal struggle—caught between domestic responsibility and national duty—is portrayed with restraint and quiet intensity. His gradual moral awakening anchors the audience’s emotional journey.

Kalyani, portrayed with sensitivity and dignity, emerges as a pillar of emotional strength. Ritika Mishra lends the character a composed resilience and silent courage, transforming Kalyani into a moral compass rather than a passive presence. Her emotional endurance and spiritual clarity subtly guide Mahendra’s transformation and deepen the human dimension of the play.

The ideological axis of the production is embodied in Satyanand (Nikhil Sahu), whose composed authority, ascetic discipline, and philosophical depth give voice to the spiritual foundation of the Sannyasi movement. His presence lends the play gravitas and ethical clarity. Characters such as Jivanand (Vikrant Sharma) and Bhavanand (Naveen Kumar) further reinforce the collective strength of the movement through performances rooted in physical discipline and controlled intensity.

An equally significant presence is Shanti, portrayed by Pragya Singh Rawat, whose performance brings a nuanced blend of emotional vitality and ideological commitment. Shanti functions as a bridge between personal emotion and collective purpose. Pragya Singh Rawat’s expressive clarity, controlled physicality, and sustained stage energy lend the character depth and conviction. Her presence in ensemble scenes adds momentum, while her individual moments reflect inner resolve and quiet determination, making Shanti an integral force within the narrative structure.

The entire ensemble—including Muskan Bhandari (Bhabhi), Disha Negi (Nimai), Akshay Dobra (Dheeranand/Guard), Akshat Avi Kishor (Captain), Hemlata (Mata), Saurabh Kumar (Lindley), and Saurabh, Sachin Gehlot, and Nitesh Tiwari as peasants, soldiers, and dacoits performed with remarkable cohesion. No character dominates; instead, each contributes to a unified dramatic fabric through disciplined body language, focused expression, and shared rhythm. The collective energy, especially in group scenes, stands out as the production’s greatest strength.

Choreography by Neelakshi Khandkar provides a powerful kinetic language to the play. The symbolic and rhythmically precise movement patterns—particularly in the Sannyasi formations—visually reinforce themes of unity, sacrifice, and spiritual discipline.
Lighting Design by Rahul Chauhan sensitively shapes the emotional landscape, while music by Shivankar Deshwal infuses the performance with restrained intensity, enhancing both dramatic tension and ideological resonance.

In its entirety, Anand Math stands as a compelling example of ensemble-driven theatre, where individual journeys—especially those of Mahendra, Kalyani, and Shanti—intersect meaningfully with a larger national and spiritual vision. Presented on the prestigious platform of Hindi Academy, this production reaffirms theatre’s enduring power to engage history as living consciousness.

Anand Math is not merely a performance—it is a collective meditation on duty, sacrifice, and conscience, leaving the audience reflective, stirred, and deeply moved.

New Delhi.
The central office “Kala Sankul” of Sanskar Bharati hosted a meaningful symposium that brought together artistic perspectives, creative expression and cultural dialogue under one roof. The event marked three successful years of the Kala Symposium Series, making the gathering a moment of both reflection and renewal.

The program commenced with a traditional lamp-lighting ceremony performed by the Chief Guest Dr. Vinod Narayan Indurkar (Chairman, CCRT), Symposium Convener Shruti Sinha, Co-convener Vishwadeep Ji, Program Coordinators Sakshi Sharma and Sneha Mukherjee.

With the theme “The Role of CCRT in the World of Art from an Indian Perspective,”
Dr. Indurkar delivered the keynote address. He emphasized that:

“Indian art is not merely an act of expression — it is a worldview, a way of life. Our responsibility is to carry this consciousness forward to the next generation through structured institutional efforts.”

He highlighted CCRT’s contribution in preserving India’s folk and classical traditions, supporting artists, and strengthening cultural awareness at the national level. His address offered a deep insight into how policy, pedagogy and cultural values interconnect in shaping India’s artistic future.

Artistic Presentations Enrich the Dialogue

The symposium was further elevated by soulful performances.
Ujra Akshara, Prof. (Dr.) Rachna and Sadhit Kaushal presented musical renditions that echoed the cultural spirit of India. Aparna Sarathe and Aman Pandey expressed philosophical ideas through Kathak, transforming thought into movement and emotion.
These artistic offerings ensured that the gathering was not only intellectually stimulating but also emotionally resonant.

A Gathering of Artists, Scholars and Young Voices

The event witnessed enthusiastic participation from artists, cultural practitioners, scholars, students and young art enthusiasts.
The symposium concluded with a shared resolve to revitalize cultural awareness and sustain the continuity of Indian artistic heritage.

Organizing Team and Contributors

The successful execution of the monthly symposium was supported by:
Harshit Goyal, Sneha Mukherjee, Garima Rani, Pradeep Pathak, Priyanka, Nidhi Tiwari, Deepti, Brijesh Kumar, Vijender Kumar, Sushank and Mrityunjay Ji.
Kuldeep Sharma skillfully conducted the proceedings.

Kala Sankul’s Commitment

Kala Sankul reaffirmed its mission:

“This platform will continue to recognize and encourage artists and institutions that bring forward the sensitive, meaningful and socially relevant questions of art, culture and the nation with a constructive and courageous vision.”

Delhi witnessed a moment of cultural significance as the Disha Group of Visual and Performing Arts inaugurated the Padmashri Daya Prakash Sinha Theatre Studio & Art Gallery on 2–3 December 2025. The ceremony, dignified and heartfelt in its essence, was formally opened by Shri Somesh Ranjan, senior social worker and son-in-law of the late Daya Prakash Sinha. The event brought together eminent personalities from the fields of art, culture, education, and theatre — including Subodh Sharma (RSS/Sanskar Bharati), veteran theatre artist J.P. Singh, senior critic Anil Goyal, theatre personalities Shyam Kumar and Anil Sharma, critic-performer Munmun, Principal Ravindra Kumar, community figure Lala Rajkumar, renowned sculptor Devidas Khatri, and cultural coordinator Dinesh Agrawal

Founded in 1990, the Disha Group has carved a notable space in Indian theatre with more than 26 productions staged across the country. For this studio initiative, Dr. Satya Prakash (Secretary) and Sampa Mandal (Theatre Director) played a pivotal role in shaping the vision and the event. Dr. Prakash described the studio as a free, open creative space where young artists can rehearse, experiment, and grow without any financial barriers. Significant contributions were also made by members Sandhya Verma, Neelima Verma, and Varuna Verma, whose dedication strengthened the foundation of this cultural endeavour.

Following the inauguration, AAOMA – The Third Space Foundation presented two plays based on the writings of Daya Prakash Sinha. The first, “Naak Ka Sawal,” a sharp humorous satire, kept the audience thoroughly engaged. Ankit Chaudhary (Thakur), Udit Koli (Pandey ji), and Shreerag M.S. (Kunwar) delivered lively and well-timed performances that evoked continuous laughter. The second play, “Purane Chawal,” unfolded with emotional depth and sincerity. Shikha Arya (Chadmilal), Gagan Chaudhary (Ranjit), Kishlay Raj (Dheer), and Mohammad Siraj (Harish) portrayed the inner conflicts of their characters with remarkable nuance and sensitivity.

Behind the scenes, technical support by Aditya Mukul (Music/Lights), Kashish (Costume/Makeup), and Vipin Kumar & Mohan Koli (Camera) ensured a seamless theatrical experience. Both plays were directed by Meeta Mishra, whose thoughtful staging and rhythmic pacing elevated the aesthetic appeal even with minimal resources.

The next day offered a moment of pure artistic resonance through the Odissi presentation of Tiara Tripathi, who performed a soulful tribute to the late Daya Prakash Sinha. Trained under the acclaimed Guru Madhavi Mudgal since the age of five, Tiara has immersed herself in the Odissi tradition for over 15 years, performing at prestigious festivals including the Youth Festival and Konark Festival, and at institutions such as Sangeet Natak Akademi and National School of Drama.

Her chosen piece, “Khela Lola,” an Oriya champu from Kishora Chandranand Champu, brought forward the subtle charm of Radha being teased by her friend for desiring the unattainable. The choreography — shaped by legends like Guru Kelucharan Mohapatra and Madhavi Mudgal — allowed Tiara to display both expressive finesse and technical mastery. Her command over abhinaya, clean geometry of movement, and serene stage presence created a performance that was at once evocative and deeply poetic.

Holding both BA and MA degrees in Dance and awarded the Scholarship for Young Artists, Tiara’s artistic journey now extends into the intersection of dance and mental health. As the founder of the Mudrika Art Foundation, she continues to nurture interdisciplinary collaborations in contemporary, Odissi, semi-classical movement, and therapeutic arts. Her presentation stood as one of the evening’s most memorable highlights — a luminous blend of devotion, skill, and artistic maturity.

The ceremony was smoothly anchored by Praveen Kumar Bharti, while the organisational support of Harish Tiwari (President), Madhulika Singh (Vice-President), Kewal Krishna Bhatia (Vice-President), and Surendra Verma (Treasurer) ensured a highly successful event.

The inauguration of the Padmashri Daya Prakash Sinha Theatre & Art Culture Studio emerges as a meaningful cultural milestone — honouring a towering figure of Indian theatre while opening new pathways for training, experimentation, and innovation. It marks the arrival of a vibrant creative hub, offering young performers a dedicated space to learn, explore, and contribute to Delhi’s ever-evolving theatrical landscape.

Delhi’s cultural landscape comes alive every month, and the last Sunday at Kala Sankul has become a beacon of creativity, where literature, theatre, and thought-provoking dialogue converge. This is not just an event—it is a continuous celebration of artistic consciousness, fostering empathy, conversation, and the resilience of the human spirit. In this ongoing journey, the play “Fireplace” took center stage this month 30th November, 2025, leaving an indelible echo in the hearts of its audience.

The event began with a ceremonial lamp lighting, graced by distinguished guests: Sh Abhijeet Gokhale, Akhil Bhartiya Sangathan Mantri of Sanskar Bharti; Sh. P.K. Mohanti, Registrar of the National School of Drama; Play Director Rohit Tripathi; and Mr. Raj Upadhyay. Their presence lent both dignity and gravitas to the occasion.

Addressing the audience, Sh. Abhijeet Gokhale ji said,
“We must never forget the pain of Kashmir in 1990, yet we must unite to usher in a new dawn.”
His words perfectly mirrored the spirit of the play—acknowledging historical pain while urging hope and collective resilience.

Some plays are simply watched; others are felt deep within. Upstage Art Group’s “Fireplace” belongs to the latter. It masterfully evokes the tragedy of 1990s Kashmir, the displacement, and dreams buried under the ashes of broken homes, touching the audience with raw sensitivity.

Dr. Rajiv Mishra’s script approaches Kashmir’s suffering not with blame, but through the lens of human compassion, truth, and memory. Director Rohit Tripathi’s vision avoids melodrama, opting for a precise, measured, and deeply moving performance. The play’s message is clear: it is not against any community, but a poignant voice for the innocents scorched by violence.

The cast delivered performances that transcended acting. Tripathi’s Baba carried profound grief and hidden fragility; Vipin Jagga as Kaleem Dar embodied calm humanity; Ashutosh Banerjee as Rahul Raina exuded sharp intensity; and Anamika Sagar’s Sarita Dutt portrayed heart-wrenching anguish. Moments on stage blurred the line between performance and audience, drawing viewers completely into the story.

Tripathi’s direction deserves special acclaim. He wove silence into the narrative as a language itself—a silence that struck deeper than dialogue ever could.

The technical team amplified the play’s impact: Parag Sharma’s lighting sculpted mood, Tarun Mishra’s sets created immersive spaces, Naresh Kumar’s music enriched the emotional texture, and Chandrakanta’s costumes added authenticity and depth.

The event’s seamless execution owed much to volunteers Shyam Kumar, Mun Mun, Sneha Mukherjee, Harshit Goyal, and Pradeep Pathak, while stage management by Vishwadeep ensured elegance and precision. Raj Upadhyay delivered the vote of thanks, and the evening concluded with a serene chant, marking a dignified and unforgettable cultural experience.

“Fireplace” was more than a play—it was a journey into memory, grief, resilience, and hope, resonating long after the final curtain fell

Eight performances, four plays, and one unforgettable theatrical experience.

Natsamrat Delhi brought a dynamic theatrical celebration to the LTG Auditorium, Mandi House, with its four-day showcase held on 9, 10, 15 and 16 November 2025. Through eight performances of four thoughtfully selected plays, the event highlighted the richness and diversity of Indian theatre while offering audiences a memorable blend of humour, sentiment and social insight.

The festival opened with The Proposal, Anton Chekhov’s timeless comedy of manners. The production delighted audiences with its sharp wit and expressive performances, turning a simple marriage proposal into a whirlwind of hilarious arguments over land and a beloved dog. The actors captured Chekhov’s satire with perfect timing, keeping viewers engaged and amused throughout.

Touching the emotional core of the festival, Satya Prakash’s Kambakht Ishq explored the inner world of two elderly individuals battling loneliness. The play’s sincerity, gentle humour and heartfelt dialogues resonated deeply with spectators. Its portrayal of companionship and emotional vulnerability brought a quiet poignancy that lingered long after the curtain closed.

The showcase continued with Chekhov ka Sansar, which presented two of Chekhov’s notable stories with a beautiful balance of humour and introspection. The play captured the writer’s subtle emotional currents, highlighting the contradictions of human nature and the understated wit that defines his storytelling.

Providing a lively comedic high point, Kallu Nai MBBS—inspired by Molière—brought the house down with its spirited performances and fast-paced energy. Revolving around a drunken barber forced to impersonate a doctor, the play offered uproarious humour while subtly commenting on social issues such as domestic violence and gender dynamics.

All four plays were directed by Shyam Kumar, whose thoughtful interpretation and cohesive vision shaped the entire festival. The ensemble cast—featuring Vishwajeet, Munmun, Shivangi, Aman Kumar, Vansh Rathore, Raman Kumar, Rajan K Batheja and others—delivered compelling and engaging performances. Supporting them was a dedicated backstage team, including stage managers Sunil Rathore and Suraj Singh, assistant stage managers Himanshu and Nisha, makeup artists Payal and Raj Rani, costume assistants Rohit Prasad and Rekha Devi, and music operator Vansh Rathore.

Audience Reactions

The showcase drew enthusiastic responses from theatre lovers, many of whom praised the emotional breadth and artistic clarity of the performances.

“It felt like watching four different worlds unfold on one stage. Each play had its own charm.” – Audience Member

“Kambakht Ishq brought tears to my eyes. Such honest performances—it stayed with me long after the show.” – Senior Theatre Enthusiast

“We came for the comedy, but Chekhov surprised us! The humour and sensitivity were beautifully balanced.” – Young Couple

“Kallu Nai MBBS had the entire hall roaring with laughter. Brilliant timing by the actors!” – College Group

“A refreshing blend of classic storytelling and contemporary relevance. Truly a rewarding experience.” – Regular Visitor

The warm applause and heartfelt reactions reflected the lasting impact of Natsamrat Delhi’s November showcase—a testament to the enduring power of theatre to inspire, entertain and connect audiences across generations.

Presented by the Hindi Academy, Delhi, the play “Lokmata Ahilyabai Holkar” emerged as a compelling blend of historical narrative, dignity and emotional depth, commemorating the 300th birth anniversary of Ahilyabai Holkar. Staged on 19th November, 2025 at the L.T.G. Auditorium, the production not only illuminated her exemplary courage and administrative acumen but also brought alive her profound humanitarian vision.

The event gained special prominence with the presence of Hon’ble Chief Minister of Delhi, Mrs. Rekha Gupta, Mr. Kapil Mishra (Hon’ble Minister, Department of Art, Culture & Language, Delhi), and Mrs. Bansuri Swaraj. Their presence elevated the cultural stature of the evening and energized the audience.

Addressing the gathering, Hon’ble Chief Minister Mrs. Rekha Gupta highlighted Ahilyabai’s life, her benevolent leadership and her unwavering commitment to justice. She noted that in ancient times women enjoyed education and equal rights, but circumstances changed drastically after the arrival of the Mughals—leading to restrictions and seclusion. In such a period, Ahilyabai stood as a shining example of strength, wisdom and progressive thought.

Hon’ble Minister Mr. Kapil Mishra and Ms. Bansuri Swaraj also emphasized the need to bring Ahilyabai Holkar’s ideals to the forefront, stating that her life continues to inspire society even today.

The event was further graced by Guest Mrs. Rashmi Singh (IAS), Secretary – Department of Art, Culture & Language. Under the leadership of Mr. Sanjay Kumar Garg, Secretary of the Hindi Academy, the entire programme unfolded with grace and coherence. All dignitaries appreciated the artistic excellence of “Lokmata Ahilyabai Holkar”.

The play’s director Rohit Tripathi transformed the narrative into a visually engaging experience with refined staging, balanced emotional transitions and well-structured dramatic movements. Writer Mukesh Jha brought historical events to life with clarity, flow and an engaging dramatic texture. Despite the narrative’s breadth and the many characters involved, the presentation remained cohesive, gradually rising in intensity and drawing the audience closer to the towering personality of Ahilyabai.

In the lead role, Shampa Mandal delivered a restrained yet powerful performance, capturing Ahilyabai’s resilience, compassion and unshakeable resolve. Her expressions, dialogue delivery and emotional precision made the character truly come alive.
Disha Gupta, as young Ahilya, added depth and charm through her expressive performance and graceful movements.

As Malharrao, Sharad Tyagi portrayed calm authority and dignified strength, leaving a lasting impact. Guneet Singh (as Khanderao) and Nirbhaya Kartavya (as Tukoji Rao, Vishwas Rao) brought emotional complexity and internal conflict to their characters with impressive conviction.

Despite the large ensemble, each artist—
Shikha Arya, Aryan Mavi, Gagan, Jai Prakash, Ankit Chaudhary, Aryan Singh, Mayur, Dhananjay, Sachin, Kritika Gaur, Ridhaan Gaur, Mohammad Siraj, and Ayushi Tripathi—maintained energy, rhythm and continuity throughout, helping the historical canvas unfold seamlessly on stage.

The backstage team added commendable depth to the production:

• Chandrakanta Tripathi’s costumes preserved historical authenticity,
• Tiara Tripathi’s choreography infused visual elegance and rhythm,
• Rajeev Ranjan’s music enriched the emotional atmosphere.

This production by Upstage Art Group, Delhi, stands as a testament to how research, sensitive writing and cohesive direction can transform history from something that is merely narrated into something profoundly experienced.
The play reminded the audience that Ahilyabai was not just a ruler—she was a true Lokmata, whose compassion and strength still resonate across generations

On the evening of 12th November in Laxmi Nagar, Delhi, the cultural organization “Shyama Gautam”, Ranchi presented the solo play “Paagal Ki Diary” at 191 School Block, with the support of Third Bell Art & Cultural Society and of 13th November in Mitra Rangmanch, Patparganj, Delhi. Based on Lu Xun’s celebrated short story “A Mad Man’s Diary”, the play was adapted for the stage by Rajesh Kumar and performed as well as directed by Malay Mishra.

The narrative follows the inner journey of a man whose sensitivity compels him to see the world through an unsettling new lens. As he questions long-accepted beliefs, habits and inherited ideas, his diary becomes a reflection of his turmoil—filled with doubt, fear, rebellion and a relentless search for meaning. Malay Mishra portrayed this psychological depth with remarkable intensity, drawing the audience into the character’s fractured inner world.

His performance stood out as the strongest pillar of the production. With subtle shifts in expression, controlled modulation of voice, and a body language that oscillated between restlessness and eerie stillness, he brought the protagonist’s mental disintegration vividly to life. There were moments when the boundary between the stage and the audience seemed to dissolve, making viewers feel as though they had stepped into the character’s mind themselves.

The stage design was minimal yet deeply evocative—a chair, a bookshelf and a handful of objects that created the claustrophobic atmosphere of a solitary, enclosed world. The lighting played a crucial role in shaping the emotional landscape, moving from dim warmth to stark illumination and creating a visual rhythm that mirrored the protagonist’s spiralling thoughts.

The play resonates on multiple levels. Beyond depicting one man’s struggle, it raises unsettling questions about the pressures and unquestioned traditions that often shape human behaviour. The blend of satire and sensitivity allows the story to comment on the fragility of perception and the elusive nature of what society calls “normal”.

As the play progresses, the character’s anxiety intensifies, and this emotional surge reaches the audience as well. Many viewers later described the experience as gripping, disturbing and poignantly insightful. Despite its serious tone, the play holds attention throughout, leaving a lingering impact.

Ultimately, “Paagal Ki Diary” emerges as a powerful theatrical experience—one that goes beyond entertainment to explore the conflicts, contradictions and silent battles within the human mind. Malay Mishra’s direction and performance elevate the narrative to an impressive artistic height. The Delhi staging by “Shyama Gautam”, Ranchi turned out to be a memorable evening of profound thought and compelling theatre.

New Delhi | November 12
The 35th Urdu Drama Festival at Shri Ram Centre, Mandi House, came alive with emotion and introspection as Adakar Theatre Society presented “Jeb Qatra”, a sensitive stage adaptation of Saadat Hasan Manto’s celebrated short story. The play was directed by Himmat Singh Negi, with Prince Rajput as the assistant director.

🌙 A Mirror to the Human Conscience

Few writers have captured human vulnerability like Manto. His world is one where morality blurs, and truth emerges in the unlikeliest of hearts. “Jeb Qatra” (The Pickpocket) unfolds the story of a thief who, after stealing a woman’s purse, is struck by remorse upon realizing her pain. What begins as a simple act of theft becomes a journey of awakening — revealing that compassion and humanity never truly die within us.

“Manto’s world is not black and white — it’s painfully, beautifully human.”

🎬 Direction: Simplicity with Depth

Director Himmat Singh Negi handled the play with remarkable restraint and clarity. Using minimal stage material and precise visual language, he transformed Manto’s prose into a living, breathing experience. Through dialogue, gesture, and silence, Negi underlined a universal truth — “Humanity is the real religion; Hindu and Muslim are but names.”

The lighting and music intertwined beautifully to highlight emotional shifts, while the staging remained both symbolic and grounded — a hallmark of thoughtful direction that never overshadows the writer’s soul.

🌟 Performances that Breathe Life into Words

Javed Sameer (as Kashi) and Nidhi Mahawan (as Bimla) led the cast with extraordinary poise and authenticity. Their chemistry, command over Urdu diction, and emotional restraint brought Manto’s text vividly to life.
Director Himmat Singh Negi, appearing briefly as the character Pandit, made a lasting impact through his controlled yet powerful presence.

The ensemble — Asif Khan, Mukesh Gupta, Nikunj Raj, Deepika Bisht, Mayank Tiwari, Sachin, Ishika Khankwal, Deepika Sharma, Angel Suryavanshi, Prateek, Ashish Singh, Mohammad Umar, Suraj, and Rahul — delivered strong performances that maintained rhythm and realism throughout.

“Each performer seemed to live inside Manto’s sentences, not merely act them.”

🎨 Behind the Curtains: The Invisible Strength

The backstage team lent quiet brilliance to the performance. The play’s lighting, designed by Dev, deepened the emotional tone, while Sham Najim Khan’s music lent poignancy and flow. Nikunj, Ashish, and Dalchand designed costumes that reflected cultural subtlety and simplicity. The make-up by Umar and Angel was balanced and character-driven, while Rishabh, Mukesh, and Mayank handled sets and properties with an understated elegance that allowed the focus to remain on the actors and emotions.
Together, they created a seamless aesthetic that reflected Manto’s realism — raw, restrained, and real.

💭 Final Takeaway

“Jeb Qatra” was not merely a performance — it was a conversation between stage and soul. The fusion of Manto’s empathy, Negi’s direction, and the ensemble’s sincerity crafted an experience that lingered beyond the final curtain.

“Manto’s stories are not meant just to be read — they are meant to be felt, staged, and lived.”

As the audience rose in applause, it was clear that this rendition of “Jeb Qatra” had not only entertained but touched hearts — reminding us that even in darkness, humanity glows quietly within.