Held on 7 June at the auditorium of Bhai Joga Singh Public School, Karol Bagh, New Delhi, Tarang – Dance Stage Show was more than just a cultural presentation; it was a celebration of dedication, discipline, and artistic growth. Organized by Vivekratz Dance Academy, the event provided a vibrant platform for emerging performers to showcase their talent before a live audience. The evening featured a variety of dance presentations by artists of different age groups, reflecting the richness of India’s performing arts tradition and the enthusiasm of a new generation of performers.

A significant contribution to the event came from Aadharshila Kala Kendra, an organization committed to nurturing young talent through training in Kathak and providing students with opportunities to perform on stage. Under the guidance of renowned Kathak guru Smt. Durga Basak, several aspiring dancers presented graceful performances that reflected both technical skill and artistic maturity. Through her dedicated teaching, Smt. Basak has been instrumental in preserving and promoting the classical dance tradition while inspiring young learners to pursue their artistic aspirations.

Among the many promising performers who graced the stage, Pooja Rathore stood out as an inspiring example of how passion and perseverance can keep a dream alive.

For Pooja Rathore, learning Kathak was not merely a hobby but a cherished childhood dream. From an early age, she aspired to immerse herself in the beauty and discipline of this classical dance form. However, as life progressed, she focused on building a successful career and eventually established herself as a respected Interior Designer. Yet the dream of becoming a Kathak dancer remained alive within her. Rather than allowing that dream to fade, she chose to pursue it with determination and dedication. Under the guidance of Smt. Durga Basak, she finally transformed her childhood aspiration into reality, proving that it is never too late to follow one’s passion and fulfill a long-held dream.

Today, Pooja successfully balances her professional achievements with her artistic pursuits. Years of disciplined training and sincere commitment have enabled her to develop a confident stage presence and a deeper understanding of Kathak’s intricate rhythms, graceful movements, and expressive storytelling. Her journey demonstrates that artistic aspirations need not be sacrificed in the pursuit of a professional career.

At Tarang – Dance Stage Show, Pooja’s performance was a reflection of that remarkable journey. Her elegant footwork, rhythmic precision, expressive abhinaya, and confident presence captivated the audience and earned warm appreciation. Watching her perform, one could sense not only her technical proficiency but also the fulfillment of a dream nurtured since childhood.

The event ultimately highlighted the importance of institutions such as Aadharshila Kala Kendra and mentors like Smt. Durga Basak, who provide aspiring artists with both training and opportunities to shine. Through performers like Pooja Rathore, Tarang demonstrated how dedication, guidance, and perseverance can transform childhood dreams into artistic reality, inspiring many others to pursue their passions regardless of where life may lead them.

As part of the valedictory session of the Nine-Day National Workshop (29 May – 6 June 2026) organized by the Sanskrit Prachya Bhasha Evam Bhartiya Gyaan Parampara, Rabindranath Tagore University, Bhopal, the fourth-semester students of the Master of Performing Arts (Drama) programme presented an engaging theatrical production titled “Paanch Rang Ek Sang.” The workshop focused on key aspects of theatre-making, including playwriting, stage design, makeup, and lighting design, with the objective of introducing students to the holistic process of theatrical production. The final presentation reflected the creative explorations, practical exercises, and collaborative learning undertaken during the workshop.

The workshop was conducted under the training and mentorship of renowned theatre practitioner Shyam Kumar from Delhi. Drawing upon his extensive experience and practical insights in theatre, he guided participants through diverse aspects of performance, stagecraft, visual composition, and theatrical presentation. The scene work and creative exercises developed during the workshop gradually evolved into a complete theatrical production, providing students with valuable hands-on experience in the art and craft of theatre.

Presented under the title “Paanch Rang Ek Sang” the production brought together five distinct stories—Lal Kothi, Bhookh, Satyamev Jayate, Dafa Ek Shav Teen… Ek Gunah, and Unheard Voices. While each narrative explored a unique theme and emotional landscape, together they reflected various dimensions of contemporary society.

One of the most remarkable aspects of the presentation was the active involvement of students in every stage of the creative process. Beyond acting, they assumed responsibility for writing, direction, costume design, music composition, makeup, and stage management, demonstrating a comprehensive understanding of theatrical production. The scene work and theatre exercises developed throughout the workshop were gradually transformed into a cohesive dramatic structure, enabling participants to engage with every dimension of performance-making and apply their learning in a practical setting.

The success of the presentation was made possible through the dedicated efforts of Adeeb Ansari, Ankit Chaudhary, Oindrila Goswami, Prashant Kumar, Sainand Sadanand Valvaikar, Bishal Barua, Davinder Singh Grover, Himadri Vyas, Kartik Kumar Namdev, Pooja Kevat, Sahaj Kumar Harjai, Unish Pratap Singh, Deepak Bhardwaj, Himanshu Tiwari, Pankaj Diwan, Prateek Chauhan, Praveen Kumar Namdev, Rahul Gupta, Sanjay Singh Negi, Nisha Kundaikar, Tanashree Rane, Santosh Rajput, Shubham Shivalkar, and Shubham Srivastava. Representing different regions of the country, these young theatre practitioners displayed remarkable talent, discipline, creativity, and collective commitment. Their contributions extended far beyond performance, encompassing significant involvement in the technical and artistic aspects of the production, thereby strengthening the overall impact of the presentation.

The workshop was jointly organized by the Sanskrit Prachya Bhasha Evam Bhartiya Gyaan Parampara, Vishwarang Foundation, and the Faculty of Humanities and Liberal Arts. It was conducted under the patronage of Dr. Aditi Chaturvedi, Pro-Chancellor, and Dr. Sangeeta Johari, Registrar, whose support encouraged innovative and practice-based learning in the performing arts. The workshop was successfully coordinated by Dr. Sanjay Kumar Dubey and Dr. Savitri Singh Parihar, with Abhishek Deshmane serving as the Convener. Their collective efforts provided students with a meaningful platform to learn, experiment, collaborate, and express their creative potential through theatre.

More than a concluding performance, “Paanch Rang Ek Sang” emerged as a celebration of creative learning, collaboration, and artistic exploration. The production demonstrated how workshop-based training can empower young artists to transform ideas into performance while gaining a deeper understanding of the many dimensions of theatre-making. It stood as a testament to the transformative power of theatre education and the vibrant creative energy of emerging performers.

New Delhi: The 23rd Natsamrat Natya Utsav, held at the LTG Auditorium in Mandi House from 28 February to 8 March 2026, concluded successfully after several days of engaging and thought-provoking theatrical performances. Featuring plays based on diverse themes and styles, the festival offered theatre lovers in the capital a vibrant and enriching cultural experience. The entire festival was dedicated to the eminent theatre personality Daya Prakash Sinha. Organized under the direction and coordination of Shyam Kumar, the festival was widely appreciated for its well-curated productions and smooth execution.

The festival opened on 28 February 2026 with two plays. The first, “Marilyn Monroe: My Crush,” written and directed by Ashraf Ali, explored the emotional struggles and private life hidden behind the glamorous public image of the legendary Hollywood icon Marilyn Monroe. Through powerful performances and a sensitive narrative, the play attempted to reveal the complex realities that often lie behind fame and celebrity. Later that evening, the play “Chuhedani,” written and directed by Ishwar Shunya, was staged. Through satire and humorous situations, the play presented the contradictions and ironies of middle-class life. The lively performances and sharp dialogues kept the audience thoroughly engaged.

The next round of performances took place on 4 March 2026 with the staging of Anton Chekhov’s celebrated one-act comedy “The Proposal,” directed by Shyam Kumar. Beginning with a simple marriage proposal and escalating into heated arguments over trivial matters, the play humorously exposed the peculiarities of human nature. The energetic acting and precise dialogue delivery made it an entertaining experience for the audience. On the same day, “Kallu Nai M.B.B.S.”—a satirical play inspired by the works of Molière and also directed by Shyam Kumar—was presented. With exaggerated characters and witty exchanges, the play humorously critiqued social conventions and everyday absurdities. Its lively staging and comic energy made it one of the most entertaining performances of the festival.

On 7 March 2026, audiences witnessed two plays with contrasting emotional tones. The first, “Lajo,” was based on the renowned story Lajwanti by Rajendra Singh Bedi. The theatrical adaptation and direction were by Chandrashekhar Sharma. The play sensitively portrayed the tragedy of the Partition and the suffering endured by women during that turbulent period. The restrained direction and deeply moving performances created a powerful emotional atmosphere. Later that day, the play “Prem Parinde,” written, conceived, and directed by Chandrashekhar Sharma, was staged. Presenting modern relationships, youthful aspirations, and the influence of social media in a light-hearted and entertaining manner, the play was warmly received by the audience. The natural performances and excellent comic timing added charm to the presentation.

The festival concluded on 8 March 2026 with two impactful productions: “Dayashankar Ki Diary” and “Gadhe Ki Baraat.” “Dayashankar Ki Diary” is written by Nadira Zaheer Babbar, while “Gadhe Ki Baraat” is written by Haribhai Wadgaonkar. Both plays were directed by Vishwadeepak Trikha. Filled with humour, satire, and social commentary, these productions provided an engaging theatrical experience and brought the festival to a memorable close.

The 23rd Natsamrat Natya Utsav emerged as a celebration of the diversity and vitality of theatre. From satire and comedy to deeply emotional narratives, the wide range of plays highlighted the multifaceted possibilities of contemporary theatre. The festival offered a meaningful platform for artists and audiences to come together and engage with compelling stories and performances.

Over the years, the Natsamrat Natya Utsav has established itself as a significant cultural event in Delhi’s theatrical landscape. Through consistent efforts and thoughtfully selected productions, the festival continues to encourage theatrical creativity and nurture a deeper appreciation for performing arts among audiences. Under the leadership of Shyam Kumar, the event remains committed to promoting quality theatre and providing artists with opportunities to present diverse dramatic works.

With its varied themes, strong direction, and dedicated performances by talented actors, the 23rd Natsamrat Natya Utsav once again proved that live theatre continues to be a vibrant and essential part of the capital’s cultural life.

New Delhi witnessed an engaging evening of theatre on 8 March at LTG Auditorium, Mandi House, where two remarkable plays — Dayashankar Ki Diary and Gadhe Ki Baraat — were staged as part of the 23rd Natsamrat Theatre Festival. The productions were directed by Vishwadeepak Trikha and presented by Cultural Saptak Society, Rohtak. The entire festival was dedicated to eminent theatre personality Daya Prakash Sinha, celebrating his immense contribution to Indian theatre.

The play Dayashankar Ki Diary presents a sensitive and realistic narrative of a young man from a small town in Bihar who arrives in the “city of dreams” hoping to achieve success. However, life takes a different turn when his ambitions collapse under the pressure of harsh realities. Eventually, he settles into a modest clerk’s job. The play explores his emotional turmoil, shattered dreams, and the quiet struggle of an ordinary individual trying to find meaning in life. Surender Sharma delivered a compelling performance on stage, portraying the character with depth and sincerity. The technical aspects of the production were handled effectively by Jagdeep Jugnu (lights and sound), while Vikas Rohilla enriched the narrative through music. The production was managed by Manish Khare. The play is written by renowned theatre personality Nadira Zaheer Babbar.

The second play, Gadhe Ki Baraat, offered a satirical and entertaining take on social inequalities. Based on a mythological premise, the play cleverly reflects on contemporary social realities, highlighting the growing divide between the rich and the poor. Through humour, lively situations, and witty dialogue, the play not only entertained the audience but also encouraged them to reflect on the inequalities embedded in society.

The cast included Tarun Pushp Trikha, Surender Sharma (as Raja), Avinash Saini (as Gangu), Parul Ahuja (as Gangu’s wife), Sonika Panwar Savera, Pratishtha (classical dancer), Shakti Sarovar Trikha, Amit Sharma, Sameer Sharma, and Shivangi (as Bua). A notable highlight of the performance was the live playing of the traditional percussion instrument Nagara by Subhash Nagara, which added a vibrant theatrical energy and enhanced the dramatic atmosphere of the play.

Musical accompaniment, including vocals and harmonium, was provided by Vikas Rohilla, while lighting design was managed by Jagdeep Jugnu. Anil Sharma handled makeup, and the production team included Manish Khare and Abhishek. The play is written by Haribhai Wadgaonkar.

At the end of the evening, the entire cast and crew were honoured with mementos and certificates in recognition of their contribution. The felicitation was presented by Devendra Popli, manager of the LTG Auditorium and a noted patron of the arts, along with Shyam Kumar, director of the Natsamrat organisation and the theatre festival.

The evening celebrated the spirit of theatre with engaging storytelling, strong performances, and enthusiastic appreciation from the audience, reflecting the vibrant cultural energy of the Natsamrat Theatre Festival.

On 7 March, at LTG Auditorium, the sixth play of the third day of the 23rd Natsamrat Natya Utsav, titled “Prem Parinde,” was staged. The festival is dedicated to the eminent theatre personality Late Sh. Daya Prakash Sinha. The play is written, conceived, and directed by Chandrashekhar Sharma.

“Prem Parinde” presents a contemporary love story of two young individuals, Rajan and Nisha, in a humorous and entertaining manner. Set against the backdrop of modern lifestyle influences such as films, social media, and the changing dynamics of relationships, the play explores how attraction and emotions often lead to amusing and unexpected situations. Through its comic narrative, the production reflects on the complexities of modern relationships while keeping the audience engaged with continuous moments of laughter.

The performances of Shipra Jain as Nisha and Nikhil Jha as Rajan stood out for their excellent comic timing and natural stage presence. Their chemistry on stage added charm to the narrative, and their dialogue delivery created several delightful moments that kept the audience thoroughly entertained.

The backstage team also contributed significantly to the overall presentation. Pushkar Sagar handled the music, Jatin designed the lights, and Mamata was responsible for the costumes. The production was managed by Amit Kumar and Raghuveer Pal, while Manoj took charge of makeup, all of which enhanced the visual and aesthetic appeal of the performance.

Overall, “Prem Parinde” emerged as an engaging comedy that cleverly portrays the humor and ironies of contemporary love, leaving the audience both amused and reflective.

On 7 March, the fifth play of the third day of the 23rd Natsamrat Natya Utsav was staged at LTG Auditorium, Mandi House, New Delhi. The play “Laajo”, directed by Chander Shekhar Sharma, offered a poignant theatrical exploration of the trauma of the India–Pakistan Partition and the complex questions surrounding women’s dignity and social acceptance. The entire festival is dedicated to the eminent theatre personality Daya Prakash Sinha.

The play is based on the celebrated short story Lajwanti by renowned writer Rajendra Singh Bedi. Set against the turbulent backdrop of the Partition, the narrative reflects on the violence, displacement, and social upheaval that affected countless lives, particularly women who became victims of abduction and exploitation during that time.

At the heart of the story is Laajo, who is abducted during the riots and taken across the border to Pakistan. Her husband Sunder Lal, left behind and haunted by the memory of his missing wife, begins a social campaign encouraging society to accept abducted women with dignity when they return. He travels among people, urging them to recognise that these women are victims of circumstances and deserve respect rather than stigma.

The emotional conflict intensifies when Laajo finally returns home. Initially fearful and hesitant, she finds joy in being reunited with her husband. She wishes to share the painful experiences of her separation, hoping for understanding and compassion. However, Sunder Lal, who publicly advocates for the acceptance of such women, finds himself unable to confront the reality of her suffering. Instead of reacting as he once did, he begins to treat her almost like a goddess—placing her on a pedestal rather than truly listening to her story. This subtle yet powerful moment exposes the deep irony of societal attitudes: while women may be symbolically revered, their truth and trauma often remain unheard.

The performances added depth and authenticity to the narrative. Sarita Sharma, portraying Laajo, delivered a sensitive and emotionally layered performance, effectively expressing the vulnerability and resilience of her character. Chander Shekhar Sharma, as Sunder Lal, convincingly depicted the internal conflict of a man torn between social ideals and personal discomfort. Ravinder Singh, in the role of Jamal, contributed with a natural and grounded presence on stage.

Behind the scenes, the technical team played a crucial role in shaping the atmosphere of the production. Nikhil Jha’s music complemented the emotional tone of the play, while Jatin’s lighting design enhanced the dramatic intensity of key moments. The costumes designed by Mamta Rani, makeup by Manoj, and the production support by Ashish Sharma and Mala Negi helped create a cohesive and effective stage presentation.

Overall, “Laajo” emerged as a thoughtful and moving theatrical experience. Through its sensitive storytelling and compelling performances, the play not only revisits the painful memories of Partition but also raises profound questions about gender, dignity, and society’s willingness to confront uncomfortable truths. It stood out as one of the notable presentations of the festival.

On March 4, at the LTG Auditorium, Mandi House, New Delhi, the fourth play of the second day of the 23rd Natsamrat Natya Utsav dedicated to eminent theatre personality Daya Prakash Sinha, was stage — Kallu Nai M.B.B.S., based on a work by the renowned French playwright Molière and directed by Shyam Kumar. The play was presented twice during the festival day and received an enthusiastic response from the audience for its lively humor and satirical tone.

The play revolves around the story of a drunken barber who often mistreats his wife. Determined to put an end to his behavior, the wife decides to teach him a lesson. At the same time, two servants arrive in search of a doctor who can cure their master’s mute daughter. The barber’s wife cleverly convinces them that her husband is an accomplished doctor, but with an unusual condition — he only agrees to become a doctor after being beaten.

What follows is a chain of comic situations and misunderstandings that create a humorous yet insightful theatrical experience. Through its witty narrative and exaggerated situations, the play also hints at the absurdities and contradictions present in social behavior, making the satire both entertaining and thought-provoking.

The performances were energetic and engaging. Munmun, Rajan K. Batheja, Shivangi, Akshay, Vansh Rathore, and Shammi delivered compelling portrayals, bringing their characters to life with strong stage presence and effective comic timing. Their expressive performances and lively interactions kept the audience engaged throughout the production.

The backstage team also played an important role in the successful presentation of the play. Sunil Rathore, Suraj Singh, Amit, Nisha, Payal, Poonam, and Rohit Prasad contributed significantly behind the scenes. Vansh Rathore, who also handled music and lighting, added depth to the overall theatrical atmosphere.

Overall, both performances of Kallu Nai M.B.B.S. stood out as an engaging presentation in the festival, offering an enjoyable blend of humor, satire, and dynamic stage performances that resonated well with the audience.

New Delhi, 4 March — On the second day of the 23rd Natsamrat Natya Utsav dedicated to eminent theatre personality Daya Prakash Sinha, held at LTG Auditorium, Mandi House, audiences were treated to two lively performances of the famous one-act play “The Proposal” by the celebrated Russian playwright Anton Chekhov. The play was directed by Shyam Kumar.

The play revolves around a young man who visits his neighbor’s house to propose marriage to their daughter. However, what begins as a sincere matrimonial proposal soon turns into a series of comical arguments. Instead of discussing love and marriage, the characters become entangled in heated disputes over trivial matters such as the ownership of a piece of land and the superiority of their respective pet dogs. Chekhov’s sharp wit and keen observation of human behavior transform these petty disagreements into an engaging and humorous dramatic conflict.

One of the most striking aspects of the production was its excellent comic timing and fast-paced dialogue delivery, which kept the audience thoroughly entertained throughout the performance. The actors brought remarkable energy and authenticity to their roles, making Chekhov’s text come alive on stage.

The cast featured Munmun, Rajan K. Batheja, Naveen Kumar and Shivangi, who impressed the audience with their expressive performances and lively stage presence.

Behind the scenes, the technical team played an important role in shaping the production. Sunil Rathor, Suraj Singh, Amit, Nisha, Payal, Poonam, and Rohit Prasad contributed significantly to the smooth execution of the performance. Vansh Rathore handled the music and lighting, enhancing the overall theatrical atmosphere.

Overall, The Proposal proved to be an engaging and entertaining presentation. With its sharp humor, lively performances, and crisp direction, the play offered audiences a memorable theatrical experience.

Organised by Sanskar Bharati, Delhi Prant, the Delhi Kala Utsav 2026, held on 28th February and 1st March at Rabindra Bhavan Complex, Mandi House, emerged as a vibrant celebration of India’s artistic and cultural legacy. Spread over two enriching days, the festival brought together music, dance, theatre, visual arts and literature, presenting a holistic reflection of India’s creative spirit.

The festival commenced with the traditional ceremonial lighting of the lamp, symbolising the eternal flame of Indian culture and collective consciousness. The inaugural session was graced by Hon’ble Union Minister of State for Road Transport and Highways Shri Harsh Malhotra Ji, Hon’ble Shri Vijay Kumar Ji, Akhil Bharatiya Sah-Vyavastha Pramukh, Hon’ble Speaker of Delhi Legislative Assembly Shri Vijender Gupta Ji, Hon’ble Shri Vijay Kumar Ji, Regional Organisation Minister of Sanskar Bharati, Shri Ashok Tiwari Ji, Kendriya Karyalaya Sachiv, Sanskar Bharati, and Shri Prabhat Kumar Ji, President, Delhi Prant, Sanskar Bharati. Their esteemed presence added dignity and national significance to the occasion.

Following the inauguration, the distinguished guests were warmly welcomed in keeping with Indian tradition. Shri Omprakash Aggarwal Ji felicitated Hon’ble Shri Harsh Malhotra Ji. Shri Mahendra Gupta Ji welcomed Hon’ble Shri Vijay Kumar Ji (Akhil Bharatiya Sah-Vyavastha Pramukh). Smt. Aarti Arora Ji greeted Hon’ble Shri Vijender Gupta Ji. Shri J.P. Singh Ji felicitated Hon’ble Shri Vijay Kumar Ji (Regional Organisation Minister), while Shri Prashant Kumar Ji welcomed Shri Ashok Tiwari Ji, Kendriya Karyalaya Sachiv. Thereafter, Shri Prabhat Kumar Ji delivered the welcome address, eloquently outlining the vision and cultural commitment behind the festival.

Throughout the festival, audiences were captivated by a rich array of performances. Classical music recitals, folk dances, group singing, dance-dramas and theatrical presentations reflected the diversity and depth of India’s artistic traditions. The festive spirit of “Holi Mangal Milan” added colour and warmth to the atmosphere, transforming the venue into a lively cultural hub.

A major highlight of the event was the painting exhibition, which showcased compelling artworks inspired by Indian values, folk traditions, spirituality and contemporary themes. Visitors engaged deeply with the visual narratives, appreciating the creativity and expressive power of the participating artists.

Adding a literary dimension to the celebration, a vibrant Kavi Sammelan was organised, where poets recited thought-provoking and emotionally resonant compositions on themes of nationalism, society and cultural identity. The session received an enthusiastic response, enriching the intellectual and emotional fabric of the festival.

The festival also incorporated artistic tributes marking significant national milestones, including 75 years of the Constitution of India and 150 years of “Vande Mataram,” thereby connecting artistic expression with national remembrance and responsibility.

Delhi Kala Utsav 2026 stood as a testament to the unifying power of art. It reaffirmed that culture is not merely a reflection of heritage, but a living and dynamic force that strengthens society and nurtures national consciousness.

As part of the second phase of the Natsamrat Natya Utsav (23rd edition), the Hindi comedy play Chuhedani was staged on 28 February at LTG Auditorium. Inspired by Murray Schisgal’s celebrated play The Typist, the production was adapted and directed by Ishwar Shunya. With a minimal cast and a restrained stage design, the performance stood out for its sharp writing and emotionally grounded execution.

The narrative centers on two clerks working in a modest office environment. Years of stagnant employment, limited salaries, job insecurity, and increasing personal responsibilities define their daily existence. Economic pressure and social expectations confine them within a repetitive routine, leaving little room for aspiration. The title Chuhedani — serves as a compelling metaphor for the socio-economic structure that ensnares individuals in cycles of monotony and compromise.

Ishwar Shunya’s script skillfully blends satire with realism. The dialogues are crisp, humorous, and accessible, yet beneath the comic surface lies a subtle critique of middle-class anxieties. The direction maintains a steady pace, using silence and pauses effectively to heighten emotional impact. The sparse set — comprising a desk, chairs, files, and a printer — reinforces the monotony of clerical life while symbolizing the passage of time and the characters’ emotional stagnation.

On stage, Abhishek Maurya and Kamal Bisht delivered compelling performances marked by strong chemistry and precise timing. Abhishek Maurya portrayed the inner conflict of a man balancing frustration with hope, while Kamal Bisht brought vitality and wit to his role, enriching the play’s comic rhythm. Their interaction sustained audience engagement and elevated the emotional depth of the narrative.

The backstage team — Ajay Yadav, Bharat Dubey, and Payal Sarkar — ensured technical finesse. The lighting subtly underscored mood transitions, and the sound design complemented the performance without overpowering it. The understated technical approach enhanced the intimacy of the storytelling.

The evening concluded with a felicitation ceremony. Director Ishwar Shunya was presented with a memento by senior writer Rajesh Singh and Natsamrat director Shyam Kumar. Senior theatre practitioner Arvind Gaur awarded certificates to the performers, acknowledging their contribution.

Overall, Chuhedani emerged as a thoughtful and engaging production that used humor to explore the layered realities of middle-class life, making it a noteworthy presentation at the 23rd Natsamrat Natya Utsav.