New Delhi – The monthly symposium held at Kala Sankul, the central office of Sanskar Bharati, became a resplendent celebration of Indian classical heritage and cultural contemplation. Designed to merge the profound legacy of India’s traditional arts with contemporary discourse, the event stood as a testament to the enduring relevance of our civilizational ethos.

At the core of the symposium was an enchanting performance of Sattriya—the classical dance form rooted in the 15th-century Vaishnavite devotional movement of Assam, pioneered by the great saint Srimanta Sankardev through his Ankiya Naat. In a performance that stirred both the senses and the spirit, dancers Sukanya Barua and Sumanya Kashyap brought the divine art form to life. Their presentation, steeped in rigorous training, aesthetic sensitivity, and rhythmic precision, unveiled the spiritual depth and narrative beauty intrinsic to Sattriya.

Complementing the artistic experience was an intellectually enriching keynote address by Dr. Sachchidanand Joshi, Member Secretary of the Indira Gandhi National Centre for the Arts (IGNCA), Delhi. In his address, he eloquently advocated for the inclusion of the Bhagavad Gita and the Natyashastra in UNESCO’s World Heritage List. “The Gita is not merely a religious scripture,” he emphasized, “but a timeless philosophy of life; and the Natyashastra, the scientific foundation of Indian artistic consciousness.” His words resonated deeply, drawing attention to the unfortunate irony that many of India’s priceless spiritual texts remain better preserved abroad than within our own institutions.

Shri Joshi also raised a critical concern regarding the preservation of India’s manuscript wealth—while India houses the largest number of ancient manuscripts globally, the number of scholars actively studying and interpreting them remains alarmingly low. His reflections served not just as commentary, but as a call to action—urging institutions, artists, and scholars toward research and revival.

The symposium saw the gracious presence of distinguished personalities from the cultural and academic domains. Among them were Dr. Vinod Narayan Indurkar, Chairman of CCRT; Sh. Rahul Kumar, Deputy Director, CCRT; renowned Odissi exponent Kasturi Patnaik; Sh. Jitendra Kumar, Convenor of the Visual Arts Department, Sanskar Bharati Delhi; Shri Raj Upadhyay, Performing Arts Convenor; playwright Sh. Alok Shukla; art critic Shashi Prabha Tiwari, along with many other senior artists, scholars, and cultural connoisseurs.

A large team of dedicated volunteers played an integral role in the successful execution of the event. Key contributors included Convenor Garima Rani, Co-convenor Vishwadeep, Sneha Mukherjee, Eminent Theatre Director Shyam Kumar, Shraboni Saha, Saurabh Triathi, Harshit Goyal, Pradeep Pathak, Muskan, Khushi, Kriti, Sakshi Sharma, and Tarushi, whose behind-the-scenes efforts were deeply appreciated.

The proceedings were elegantly compered by senior anchor Bharati Dang, whose poise and eloquence added grace to the evening. The formal vote of thanks was delivered by Sh. Kuldeep Sharma, convenor of the theatrical wing, and the event concluded on a tranquil note with the chanting of the Shanti Mantra.

More than just a cultural evening, this symposium served as a meaningful reminder of India’s vast artistic and philosophical legacy. It illustrated how, even in an age of rapid modernization, there remains a deep well of tradition from which we continue to draw inspiration. It reaffirmed that tradition and progress are not opposing forces—but vital companions on the journey of cultural continuity.

On June 14 and 16, 2025, the Faculty of Humanities and Liberal Arts at Rabindranath Tagore University, Bhopal, witnessed the powerful staging of two stylistically diverse plays — “Chekhov Ki Duniya” and “Urubhanga”. These productions were presented by the students of the MPA (Drama) and PG Diploma in Natyashastra as part of a national theatre workshop held from May 7 to 16, marking the culmination of their second semester curriculum. Through these performances, the students skillfully bridged classical Indian theatrical traditions with modern experimental aesthetics.

The two productions stood as compelling contrasts. While one portrayed the ironic absurdities of modern Western society through humour, the other breathed life into the deep emotional undercurrents of Indian mythology through poignant tragedy.

“Chekhov Ki Duniya” — A Humorous Reflection of Social Irony

Staged on June 14, “Chekhov Ki Duniya” was based on three comic one-act plays by Russian literary master Anton Chekhov — Cheeenk, The Bank Manager, and Surgery. Under the seasoned direction of Shyam Kumar and co-direction of Shraboni Saha, the play brought forth the complexities hidden in seemingly trivial incidents. From the social awkwardness triggered by a simple sneeze, to the oppressive nature of bureaucratic banking systems, and the cold commercialization of healthcare — each vignette was rendered with biting humour and subtle irony.

The ensemble cast brought these stories to life with remarkable authenticity. Sehej Harjai served as the narrator, with Ankit Chaudhary (Pyare Mohan), Tanshree Rane (Pyare Mohan’s wife), Sainand Valvaikar (General), and Oindrila Goswami (General’s wife) portraying Chekhovian characters with flair. Supporting roles by Santosh Rajput (Bank Manager), Sauptik Bhattacharya (Assistant Manager), Pooja Kewat (Woman), Praveen Namdev (Compounder), Davinder Singh Grover (Patient), and Deepak Bhardwaj (Audience Member) were met with hearty applause from both guests and viewers.

The backstage team worked with admirable precision. Stage management was handled by Davinder Singh Grover and Sehej Harjai. Costumes were designed by Deepak Bhardwaj, Santosh Grover coordinated props, lighting by Praveen Namdev, and musical direction was led by Vansh Rathore.

“Urubhanga” — A Mythological Tragedy That Stirred the Soul

Performed on June 16, “Urubhanga” is a poignant classical tragedy written by the Sanskrit playwright Bhasa. The play explores the psychological turmoil, remorse, and transformation of a wounded Duryodhana on the eighteenth day of the Mahabharata war. Under the direction of Dr. Sheetanshu Tripathi, the production delved into the devastating aftermath of war and internal conflict, deeply moving the audience.

Shubham Srivastava’s sensitive and intense portrayal of Duryodhana left an indelible mark. As the narrator, Pankaj Diwan effectively connected the audience with both the intellectual and emotional threads of the narrative. Supporting roles were performed by Adeeb Ansari, Sanjay Singh Negi (Ashwatthama), Prateek Chauhan (Dhritarashtra), Neeraj (Krishna), Richa Kalra (Gandhari), Shikha (Pauravi), Nisha Kudaikar (Malavi), Shubham Shivalikar (Durjaya), Unnish Pratap Singh (Baladeva), and the younger characters — Rahul Gupta, Prashant Kumar (Harshit), and Kartik Namdev — all delivering memorable performances.

The scenic design and costuming, supervised by Deepak Bhardwaj with active involvement from Kartik Namdev, enriched the stage with symbolic depth and aesthetic elegance.

Both performances were graced by distinguished guests — Chancellor Shri Santosh Choubey, Vice-Chancellor Prof. R. P. Dubey, and Dr. Prasad Bhide from Central Sanskrit University, Bhopal. After witnessing “Chekhov Ki Duniya”, the Chancellor lauded it as a sharp portrayal of social reality and commended both cast and crew. Regarding “Urubhanga”, Dr. Bhide praised its seamless fusion of ancient dramaturgy with modern theatrical techniques. Vice-Chancellor Prof. Dubey described both plays as commendable and emphasized the importance of sustaining such creative academic endeavours at the university.

The entire event was coordinated under the guidance of Dr. Sanjay Kumar Dubey, Dr. Savitri Singh Parihar, and Sh. Abhishek Deshmukh, whose leadership transformed this semester-end production into a rich academic and cultural experience.

“Chekhov Ki Duniya” and “Urubhanga” stand as testaments to the theatrical acumen, emotional insight, and creative potential of the students at Rabindranath Tagore University. These productions point towards a promising future — where tradition meets innovation, theory meets experience, and Indian roots engage meaningfully with global perspectives.

On May 24, 31, and June 1, Delhi’s L.T.G. Auditorium at Mandi House came alive with a rich blend of theatre as Natsamrat, a prominent performing arts group, presented a trio of compelling plays. Each piece offered a distinct flavour—ranging from heartfelt drama to sharp satire and uproarious comedy—beautifully reflecting the artistic breadth and emotional depth of contemporary Indian theatre.

Tender Reflections: Kambakht Ishq

Staged on May 31 at 3:00 PM, Kambakht Ishq, penned by Satyaprakash, offered a poignant look into the emotional needs of the elderly. Through the lives of two aging individuals coping with loneliness, the play delicately unraveled themes of companionship, vulnerability, and the quiet ache of growing old. With subtle dialogue and restrained yet powerful performances, the production struck a deep emotional chord with its audience, rendering it one of the most moving performances of the festival.

Comic Wit and Social Satire: The Proposal

Staged twice—on May 24 at 11:30 AM and again on June 1 at 3:00 PM—Anton Chekhov’s iconic one-act play The Proposal was brought to life with remarkable flair. What begins as a simple marriage proposal spirals hilariously into a heated argument over land and pets. The actors’ crisp comic timing, expressive body language, and fluid stage presence transformed the absurdity into biting social satire. It was a delightful reminder that laughter, when layered with irony, becomes a powerful mirror to societal quirks.

Laughter with a Message: Kallu Nai MBBS

Inspired by Molière’s classic farce and performed on May 24 at 12:30 PM, May 31 and June 1 at 4:15 PM, Kallu Nai MBBS followed the misadventures of a drunk barber who is forcibly made to act as a doctor. Behind the laugh-out-loud moments lay darker undertones of domestic abuse and the systemic marginalization of women. The fast-paced narrative, witty dialogues, and exaggerated characters created a comic spectacle that managed to entertain while prompting deeper thought.

Direction and Technical Excellence

All three plays were skillfully directed by Shyam Kumar, whose vision and theatrical sensibility were evident in the seamless staging. The ensemble cast—Vishwajeet, Munmun, Shivangi, Aman Kumar, Dhananjay, Raman Kumar, Rajan, and Saumya—delivered heartfelt and dynamic performances. Behind the scenes, the production team added immense value: Sunil Rathore and Suraj Singh (stage management), Himanshu and Nisha (assistant stage managers), Payal and Raj Rani (makeup), Rohit Prasad and Rekha Devi (costumes), and Vansh Rathore (music coordination).

Natsamrat’s theatrical offering was more than a cultural event—it was a celebration of theatre’s power to evoke, provoke, and connect. Through humour, emotion, and satire, the festival reminded us that the stage is not just a space for performance, but a living, breathing dialogue with society itself.

New Delhi, Priyadarshini Vihar –From May 27th to 29th, Kala Chaitanya Society organized a grand three-day Tabla and Dholak workshop at the Priyadarshini Vihar Club. The workshop was conducted by Dr. Shrikant Shukla, an awardee of the Uttar Pradesh Sangeet Natak Akademi and a distinguished expert in Tabla and Dholak. Art enthusiasts from Delhi-NCR and nearby regions participated with great enthusiasm.

The workshop was completely free of cost and open to individuals of all age groups. Participants received intensive training in the fundamentals of Tabla and Dholak, including basic techniques, understanding of rhythmic cycles (taals), hand coordination, and practical aspects of rhythm and tempo.

Sh. Vishavdeep, the President of Kala Chaitanya Society and an internationally acclaimed Kathak artist, shared that the objective of this workshop was not only to impart training but also to preserve and pass on vanishing art forms to future generations. He remarked,”Just as ancient languages like Prakrit and Pali faded away due to lack of preservation, many art forms are also nearing extinction. It is our collective responsibility to ensure that cultural conservation does not remain confined to words, but is practiced at a grassroots level”.

The Society’s Secretary, Sh. Pradeep Kumar Pathak, emphasized that the initiative aimed to connect people from all walks of life with music. He believes that engagement with the arts positively influences one’s mindset, sensitivity, and social behavior.

The workshop commenced with a ceremonial welcome by Sh. Ashok Tiwari, Secretary of Sanskar Bharati – Kala Sankul, who felicitated Dr. Shrikant Shukla with a traditional angavastram. The event was graced by several esteemed personalities, including senior Kathak guru Sh. Subhash Chandra, renowned theatre artist and Head of the Theatre Department at Modern School, Delhi, Sh. Raj Upadhyay, Secretary of Priyadarshini Vihar Club, Smt. Shikha Sobti, and Head of Dance at Mata Gujri School, Smt. Ruchika Bagga.

Over the course of three days, the workshop fostered an atmosphere of inspiration and deep emotional engagement. Participants described the experience as invaluable and expressed a keen desire for more such initiatives in the future.

The monthly cultural symposium held at Sanskar Bharati’s central office, Kala Sankul, has blossomed into a vibrant celebration of Indian art and heritage, where the essence of tradition comes alive in its most graceful form. This month’s gathering was made truly special by the presence of the Chief Guest, Padma Shri Smt. Nalini-Kamalini, the renowned Kathak duo, whose distinguished contribution to Indian classical dance brought gravitas and inspiration to the evening.

The program began with the auspicious lighting of the ceremonial lamp, symbolizing the light of knowledge and culture. The ceremony was conducted by Padma Shri Shrimati Nalini-Kamalini, Sh. Vijay Kumar (Regional Organizational Secretary, Sanskar Bharati), Sh. Ashok Tiwari (President, Kala Sankul), Smt. Shruti Sinha, and Sh. Raj Upadhyay (Coordinator, Performing Arts, Delhi Region).

The cultural performances commenced with a mesmerizing Kathak recital by Ms. Anjali Munjal, who beautifully portrayed the depth of classical dance through an elegant blend of laya, taal, and expressive bhaav. She was followed by Ms. Damini Bisht, whose powerful Kathak performance, enriched with emotive expressions and rhythmic finesse, captivated the audience.

The evening reached a deeper resonance when the Chief Guest, Padma Shri Shrimati Nalini-Kamalini, took to the stage to address the gathering. Kamalini ji shared,

“Art is not merely an expression—it is the beauty of the soul, shaped by years of devotion and discipline. It refines the individual and uplifts society.”

She emphasized the value of consistency, purity, and dedication in artistic practice, highlighting art’s transformative power as a tool for national development.

“In today’s world,” she said, “art awakens inner consciousness, fosters social unity, and becomes a powerful medium for cultural resurgence.”

The symposium was gracefully anchored by Garima Rani and Shri Vishwadeep, who maintained a seamless flow and upheld the dignity of the evening. The event was enriched by the presence of many eminent personalities from the cultural sphere, including Sh. Pradeep Mohanty (Registrar, National School of Drama), Kathak Guru Subhash Ji, Chhau exponent Sapan Acharya Ji, renowned Kathak artist Anu Sinha, Deepali Sinha, and the duo Vikash-Aparna, among others.

The success of the event was the result of sincere efforts by a committed team of volunteers: Shraboni Saha, Sneha Mukherjee, Sakshi Sharma, Bharti Dang, Priyanka, Nandini, Aanchal, Ayushi, Sakshi, Tarushi, Senior Theatre Artist Shyam Kumar, Kuldeep Sharma, O.P.Sagar, Saurabh Tripathi, Raman, Harshit, Digvijay Pandey, Brijesh, Shivam, Satyam, and Mrityunjay—whose dedication brought vitality to the entire celebration.

Toward the end, Smt. Shruti Sinha delivered a heartfelt vote of thanks, expressing gratitude to all artists, dignitaries, and organizers. The symposium concluded with the collective chanting of the Shanti Mantra, a sacred moment that left an everlasting impression of the divinity and elegance of Indian art and culture in the hearts of all present.

Held from May 19 to 22, 2025, at Kala Sankul, Sanskar Bharati’s esteemed cultural centre in New Delhi, the group art exhibition “पछ्याण” (meaning identity) is a compelling tribute to the artistic spirit of Uttarakhand. Organized by the Rangeet Art Centre, Haldwani (Nainital), the exhibition aims to give national visibility to the region’s artists—both emerging and established.

This thoughtfully curated event showcases contemporary artworks that are deeply rooted in the cultural soil of Uttarakhand. It presents a striking fusion of folk traditions and modern expression, offering viewers a fresh perspective on the region’s identity, struggles, and everyday beauty.

The inaugural event was attended by notable figures including Shri Ashok Tiwari (Central Executive Member & Secretary, Sanskar Bharati), Shri Digvijay Pandey (Manager, Kala Sankul), Shri Himanshu Dabral (Programme Coordinator, Lalit Kala Akademi), and senior artists Naval Kishore and Ajay Sameer, who lent their support and presence to the cause of regional art.

The artworks featured in पछ्याण reflect the landscapes, lifestyles, and layered emotions of mountain life. From the role of women in society to the quiet resilience of remote communities, each canvas tells a story with nuance and sincerity. In some works, traditional folk art forms like Aipan are reimagined through a contemporary lens—bridging past and present in powerful visual narratives.

The exhibition includes works by a diverse group of artists:
Tshering Negi, Priyoum Talukdar, Kusum Pandey, Papil Manna, Maninder Singh, Shanu Sharma, Chetan Joshi, Kaveesh Nabiyal, Ritika Bhatt, Dipanshu Dugtal, Khasti Palari, Riya Kabdal, and Archita Padiyar.
Despite their varied techniques and themes, what unites them is a shared commitment to giving voice to Uttarakhand’s cultural heritage.

Located in the heart of Delhi, Kala Sankul is more than just a gallery—it is a dynamic space for artistic exchange rooted in Indian knowledge traditions. The venue regularly hosts panel discussions, performances, and cultural programs, making it an ideal platform for showcasing regional creativity on a national stage.

In essence,पछ्याण is not merely an art exhibition—it is a cultural statement. It reaffirms the idea that art, when grounded in identity and tradition, can transcend regional boundaries and speak to a larger collective consciousness.

A Poetic Finale to a Festival of Stories

New Delhi | April 30, 2025 — The Katharang theatre series at the National School of Drama’s Sammukh Auditorium concluded on a touching and emotionally rich note with the stage adaptation of Rabindranath Tagore’s classic story “Samapti”. Presented by Mailorang and performed by the Sambhav Theatre Group, the production was directed by the eminent Professor Devendra Raj Ankur, who brought to the stage his trademark sensitivity and refined theatrical sensibility.

“Samapti” (The Completion) is a gentle yet powerful tale of emotional maturity and the freedom to grow into love. At the heart of the story is Mrinmoyee, a free-spirited village girl who is unready for the responsibilities of marriage and dismisses romantic expectations with the careless abandon of youth. When Apurva, a kind-hearted law student from Kolkata, falls in love with her and marries her against his mother’s wishes, Mrinmoyee struggles to accept the union. Apurva, instead of pressuring her, quietly returns to Kolkata. Left alone, Mrinmoyee begins to reflect, mature, and discover the true meaning of love. When she later visits him in Kolkata, their love story finds its quiet, heartfelt completion—not in dramatic reunion, but in the soft, mutual understanding that comes with time and growth.

The performances were deeply evocative and nuanced. Amit Saxena portrayed Apurva with admirable restraint and tenderness, embodying the patience and dignity of a man in love. Gouri Dewal brought youthful vibrance and infectious energy to the role of young Mrinmoyee, while Hema Bisht, portraying her matured counterpart, captured the inner transformation of the character with great poise and depth. Durga Sharma, as Apurva’s conservative mother, delivered a layered performance filled with conviction and emotional tension, while Amitabh Srivastava, as Mrinmoyee’s father, offered a sincere and grounded portrayal of a man caught between tradition and his daughter’s spirited nature. The ensemble of Prakash Jha, Nidhi Mishra, Tripti Jauhari, and Sahej Harjai supported the narrative with subtle and committed performances that helped bring the world of the play vividly to life.

Aesthetically, the play was a visual and auditory delight. The lighting design by Raghav Prakash Mishra added emotional texture to every scene, blending poetic softness with narrative clarity. The carefully curated music by Rajesh Singh, operated live by Unis Yadav, underscored key moments with sensitivity and restraint, enhancing the atmosphere without overpowering the dialogue or mood.

“Samapti” proved to be the perfect culmination to Katharang, bringing the series to a meaningful and emotionally satisfying close. Following the performance, a special segment took place on stage in which the writers of the plays featured during the festival—Vijay Pandit (writer of Jogiya Raag), Priyadarshan (Betiyan Mannu Ki), and Umashanker Choudhary (Ayodhya Babu Sanak Gaye Hain)—shared with the audience the inspirations behind their stories. Their reflections revealed not only their literary intentions but also the personal and cultural resonances that shaped their writing.

Adding a warm and personal touch to the evening, artists Nidhi Mishra, Amit Saxena, and Gouri Dewal came forward to share their experiences during the preparation of these productions. They spoke fondly about the collaborative process, the challenges of inhabiting complex characters, and the enriching journey of working under the mentorship of Professor Devendra Raj Ankur. Their heartfelt memories underscored the deep sense of community, artistic discipline, and emotional investment that fueled the spirit of Katharang.

As the curtains fell on this moving performance, it was clear that Katharang had concluded not just with a play, but with a celebration of storytelling, shared experiences, and the quiet power of theatre to transform hearts. “Samapti” lived up to its name—a beautiful completion, both of a love story and of a remarkable festival.

On April 29, 2025, the Sammukh auditorium of the National School of Drama, New Delhi, witnessed a deeply moving theatrical experience as part of the ‘Katharang’ series. The play “Ayodhya Babu Sanak Gaye Hain”, presented by Mailorang (Maithili Lok Rang) and staged by Sambhav Theatre Group, resonated profoundly with the audience. Based on a powerful short story of the same name by noted writer Umashankar Chaudhary, the production explored the contradictions and emotional fragmentation in contemporary society through an impactful dramatic interpretation.

Directed by Professor Devendra Raj Ankur, the play reflected a sharp eye for detail and a deep sense of social sensitivity. He intricately wove the essence of the original story into the dramatic structure, using characters as instruments to deliver a scathing commentary on present-day societal realities.

Amit Saxena delivered a layered and sensitive portrayal of the son. His internal conflict, the clash between duty and emotion, and the discomfort arising from Ayodhya Babu’s supposed madness were brought out with striking realism.

Hema Bisht, as the mother, left an unforgettable impression — especially in the final scene where her silent, broken presence on the deathbed conveyed volumes. Her performance evoked quiet grief and emotional depth.

Amitabh Srivastava brought the complex and multi-dimensional character of Ayodhya Babu alive on stage. His portrayal transcended mere eccentricity, revealing a soul tormented by truth and resistance against social hypocrisy. His ‘madness’ became a metaphor for the courage to speak truth in a world of convenient lies.

The lighting design by Raghav Prakash Mishra played a vital role in enhancing the emotional gravity of the scenes. Particularly in the strained moments between mother and son, the lighting subtly underlined the unspoken pain and tension.

With its naturalistic language, piercing dialogues, and emotionally resonant characters, the play captivated the audience from beginning to end. It was not merely a source of entertainment, but an invitation to introspect.

“Ayodhya Babu Sanak Gaye Hain” compels us to ask: who is truly mad — the one who dares to speak the truth, or the one who comfortably lives with lies? This remarkable production by Maithili Lok Rang and Sambhav Theatre Group stood out as a shining example of theatrical depth, creativity, and social commitment. By the final scene, the audience was not only emotionally moved but left with lingering questions and reflections.

On April 28, 2025, the Sammukh Auditorium of the National School of Drama, New Delhi, transformed into a space of introspection and intensity as part of the Katharang series presented by Mailorang (Maithili Lok Rang). The evening featured two poignant theatrical presentations—“Ek Stree Ke Kaarname” by Suryabala and “Betiyaan Mannu Ki”, based on selected short stories of Mannu Bhandari. Both productions were helmed by acclaimed theatre director Prof. Devendra Raj Ankur, known for his ability to breathe theatrical life into literary works with sharp insight and emotional precision.

“Ek Stree Ke Kaarname” — A Satirical Soliloquy of the Self

The first play, “Ek Stree Ke Kaarname”, dived deep into the psyche of a seemingly balanced and educated woman whose exterior composure masks an inner churning of suppressed emotions, quiet frustrations, and the desperate quest for identity. Suryabala’s acerbic wit and psychological depth were beautifully translated on stage through a tight script and layered performances.
Durga Sharma, portraying the central character, delivered a finely tuned performance—her expressive control and emotional nuance navigating the character’s journey from repression to quiet self-awareness. Amitabh Srivastava lent strength to the performance with his presence, bringing balance and rhythm to the narrative’s unfolding. The interplay of speech, silence, and irony kept the audience deeply engaged, holding a mirror to the everyday contradictions of womanhood.

“Betiyaan Mannu Ki” — Fragments of Feminine Reality

The second presentation, “Betiyaan Mannu Ki”, was an ensemble performance based on several short stories by Mannu Bhandari, one of Hindi literature’s most powerful voices on gender and identity. The play explored multiple dimensions of womanhood across varied roles and stages of life, offering moments of tenderness, conflict, vulnerability, and resistance.
The cast—Amit Saxena, Gauri Deval, Aditi, and Rachita Verma—brought these diverse female experiences to life with empathy and skill. Each transition between characters and narratives was handled with clarity and emotional depth. Whether as daughters, lovers, mothers, or rebels, the female characters emerged with raw honesty, making the stories resonate deeply with the audience.

The production’s lighting, designed by Raghav Prakash Mishra, subtly enhanced each scene’s emotional tone without overpowering the narrative. His use of soft transitions, warm shadows, and isolated highlights helped build the psychological landscapes of both plays. The minimalist set and gentle pacing allowed the performances and text to breathe, focusing the audience’s attention squarely on the characters and their journeys. The music selection, curated by Rajesh Singh, provided an evocative auditory backdrop, enhancing each emotional transition. Sahaj Harjai and Unis Yadav skillfully operated the music during the performances, ensuring smooth and expressive sonic flow that deepened audience immersion.

Katharang’s theatrical evening was a thoughtful confluence of literature and performance—a celebration of women’s stories told with dignity, irony, and emotional truth. Prof. Devendra Raj Ankur once again demonstrated his profound sensitivity as a director, translating literary narratives into stage experiences that speak directly to the conscience. The evening left the audience moved, provoked, and awakened reminding us that theatre, at its best, does more than entertain; it opens conversations and illuminates’ silences.

On 27th April 2025, at the Sammukh Auditorium of the National School of Drama, Delhi, the theatrical evening under the “Katharang” program—organized by Mailorang (Maithili Lok Rang), Delhi—featured Sambhav’s evocative presentation “Unke Hisse Ka Prem evam Gareeb Nawaz”. The performance offered an experience that touched audiences at their very core.

The direction was helmed by senior theatre practitioner Prof. Devendra Raj Ankur, whose theatrical finesse was evident in every scene and every emotion of the presentation.

The first story viewed love from an unusual yet striking perspective—where inanimate objects, rather than humans, become witnesses. Set in an office, the hidden layers of a boss’s romantic entanglements are brought to life through the voices of his desk, chair, diary, mirror, and pen. While the concept sounds extraordinary, it was executed on stage with remarkable ease and believability. These lifeless symbols transformed into living characters before the audience’s eyes, each one addressing the viewers—sometimes with sarcasm, at other times with compassion. The director’s choice to turn objects into “characters” was a daring experiment in theatre, and it proved to be a wholly rewarding one.

The second story depicted a contemporary conflict within society, rendered in a simple yet powerful form. The struggle between Vishwamohan—who returns from America to start a BPO—and Riyaz, who opens a modest “Gareeb Nawaz Chicken Shop” next door, is not merely a business rivalry. It becomes a clash of two worldviews. Beneath its humor and wit, the story makes a poignant commentary: in the blind race for development, how many truths are trampled, and how many “Gareeb Nawaz” figures are pushed to the margins?

On stage, Nidhi Mishra, Gauri Dewal, Rachita Verma, Amitabh Srivastava, Amit Saxena, Harikesh Maurya, Sahaj Harjai, and Prakash Jha brought their characters to life with such intensity and nuance that each scene appeared to unfold right before the audience’s eyes. Their performances added soul to the characters, going beyond mere dialogues. Behind the scenes, too, a dedicated creative team worked tirelessly.

Music selection was curated by Rajesh Singh, and technical operation during the performance managed by Unish Yadav and Sahaj Harjai, whose acoustic execution ensured precise alignment of sound with the emotional tone and rhythm of each scene.

Lighting was sensitively designed by Raghav Prakash Mishra, whose balance of light and shadow added both visual clarity and thematic depth. Every aspect of stage design, management, and visual aesthetics reflected a mature professional sensibility and deep theatrical insight, elevating the performance to a level of artistic completeness.

It would not be an exaggeration to say that this presentation offered more than just two stories—it offered two distinct philosophies of life. One, where love remains forever incomplete; and the other, where in the name of “success,” human relationships and grounded realities are blurred. Prof. Devendra Raj Ankur’s endeavor reaffirmed that theatre does not end at the stage—it becomes an extension of our consciousness.

Sambhav’s performance reminded us that when acting, direction, and thought move in unison, theatre becomes more than performance—it becomes a dialogue that resonates deeply within the viewer, long after the lights have dimmed.