The 23rd Natsamrat Natya Utsav commenced on 28 February with great cultural fervor at the iconic LTG Auditorium, Mandi House, New Delhi—a venue widely regarded as the heart of the capital’s vibrant theatre movement. The opening evening marked not only the beginning of a new festival edition but also a renewed celebration of meaningful and socially conscious theatre.

The ceremony began with the traditional lamp-lighting ritual (Deep Prajwalan), symbolizing knowledge, artistic awakening, and collective creative energy. The inaugural lamp was jointly lit by Natsamrat’s Director Shyam Kumar, theatre director Ashraf Ali, theatre director Ishwar Shunya, writer Rajesh Singh, and Vipin Kumar. Their shared presence on stage reflected the collaborative spirit and artistic dedication that define the Natsamrat platform.

The festival opened with the compelling production “Marilyn Monroe: My Crush,” written and directed by Ashraf Ali. Inspired by the life and legacy of Marilyn Monroe, the play moves beyond the glittering aura of fame to examine the psychological and emotional complexities concealed behind an iconic public image. Rather than portraying Monroe merely as a symbol of glamour and success, the production explores themes of identity, projection, vulnerability, and the societal pressures imposed upon women.

The narrative unfolds around three young men sharing a room and their friend Malti, whose resemblance to Marilyn Monroe becomes the starting point of the drama. What begins as light-hearted teasing—calling her “Marilyn”—gradually evolves into a deeper psychological enactment. The name turns into a role, and Malti slowly begins to inhabit the persona projected onto her.

As the three male characters assume the roles of men associated with Marilyn Monroe’s life, the stage transforms into a charged space where complex dynamics of love, attraction, authority, and control come to the forefront. The play thoughtfully questions how society often confines women within constructed images, overlooking their emotional depth and individuality. Through layered performances and subtle dramatic tension, the production highlights how identity can become distorted when shaped by external expectations rather than inner truth.

The emotional high point of the play arrives when Malti reclaims her authentic self, breaking free from the image that sought to define her. This climactic moment leaves a lasting impact on the audience, transforming the performance into a resonant statement on dignity, autonomy, and self-realization.

The evening concluded with a gesture of appreciation and recognition. The director of the play was presented with a commemorative memento, while all participating artists were awarded certificates of the Natya Utsav. The honors were conferred by senior theatre practitioner Arvind Gaur, writer Rajesh Singh, and Natsamrat Director Shyam Kumar, reinforcing the festival’s commitment to nurturing and celebrating serious theatre practice.

With a dignified inauguration and an intellectually engaging opening production, the first evening of the 23rd Natsamrat Natya Utsav set an inspiring tone for the festival ahead, reaffirming its position as a significant platform for contemporary theatrical expression.

At the theatre seminar organized at Kala Sankul by Sanskar Bharati, Abhigyan Natya Association, Delhi presented a compelling staging of “Jalam Amritam.” The research-based music and dance theatre production was written by Dr. Madhu Pant and directed by senior theatre practitioner Nisha Trivedi. Rooted in the philosophy of the five elements (Panchamahabhuta), the play examined the fractured relationship between humanity and nature in the context of contemporary ecological crises.

The programme formally commenced with a traditional ceremonial lamp-lighting (Deep Prajwalan), symbolizing the invocation of wisdom and creative energy. The lamp was lit by Shri Ashok Tiwari, Central Office Secretary of Sanskar Bharati Kala Sankul; Dr. Madhu Pant, the playwright; Nisha Trivedi, the director; senior theatre practitioner Lokendra Trivedi; and seminar convener Brijesh.

Kala Sankul: Vision and Cultural Commitment

Kala Sankul is dedicated to nurturing creative thought, cultural awareness, and value-based consciousness through art and literature. It is not merely a venue for performances, but a vibrant center for intellectual exchange and creative dialogue. Engaging with contemporary issues through an Indian cultural perspective and positioning art as a medium of social awareness remain its defining characteristics.

A production like “Jalam Amritam” strongly reflects and fulfills this vision.

Theme and Presentation

Opening with a Vedic invocation, the play re-established water as the sacred and life-sustaining element among the five elements of nature. Through evocative visuals and symbolic characterization, it portrayed environmental degradation—drying rivers, deforestation, and the commodification of water in the name of development.

Characters such as Varun and Prithvi embodied nature’s anguish. Group choreography and symbolic stagecraft enhanced the emotional depth of the narrative.

Music, Research, and Stagecraft

The production’s strength lay significantly in its music and research. The contribution of Lokendra Trivedi in music composition and research was especially noteworthy. He seamlessly blended Vedic tonalities with traditional and contemporary musical textures, transforming the performance into a deeply immersive and spiritual experience.

The choreography by Bhumikedhwar Singh demonstrated a balanced integration of classical and folk elements, marked by expressive movement and emotional intensity.

Lighting and sound design were thematically aligned and impactful, while costumes and props remained simple yet symbolically meaningful.

Post-Performance Review Discussion

A review discussion followed the performance, during which audience members shared thoughtful reflections. Many described the play not merely as an environmental narrative but as a call for introspection and responsibility. Young participants emphasized the importance of practicing water conservation in daily life, while senior attendees appreciated the cultural and Vedic grounding of the production.

Conclusion

At the conclusion of the programme, Shri Ashok Tiwari delivered an inspiring address, stating:

“Kala Sankul is not merely a building, but a temple of artists and art. It is a sacred space where creation becomes a form of spiritual practice and expression guides the conscience of society. We believe in addressing contemporary issues through art to foster awareness and positive transformation. Kala Sankul will continue to advance creative dialogue through such initiatives.”

His words resonated deeply with the spirit of the evening and reaffirmed the institution’s commitment to socially conscious artistic engagement.

The event was gracefully anchored by Mun Mun. The vote of thanks was delivered by Shruti Sinha, and the seminar concluded with a peace invocation led by convener Brijesh. The dedicated efforts of seminar members — Garima Rani, Sneha Mukherjee, Shyam Kumar, Raj Upadhyay, Ritambhara, Mrityunjay, and Bijendra Kumar — contributed significantly to the success of the event.

Overall Assessment

The synergy of Dr. Madhu Pant’s writing, Nisha Trivedi’s sensitive direction, Lokendra Trivedi’s research-driven musical composition, and Bhumikedhwar Singh’s expressive choreography made “Jalam Amritam” a powerful and memorable theatrical experience.

More than a performance, the production stands as a cultural appeal to restore water to its rightful reverence as “Amrit” — the nectar of life.

In a remarkable literary moment at the National School of Drama, two significant works — Vanhans and Six Seasons — were jointly launched under the prestigious ‘Shruti’ segment of Bharat Rang Mahotsav 2026.

The books were formally released by the Director of the National School of Drama, Chittaranjan Tripathy, in the presence of eminent theatre personalities and literature enthusiasts.

Vanhans – Dakshina Sharma’s Assamese Adaptation of Ibsen

Vanhans is an Assamese adaptation of Henrik Ibsen’s celebrated play The Wild Duck, translated and reimagined by Dakshina Sharma.

Dakshina Sharma is a dynamic contemporary theatre practitioner — an accomplished actor, director, playwright, and translator. Over the years, she has consistently worked toward building a meaningful dialogue between Indian languages and world literature.

What distinguishes her work is her deep sensitivity to text. She does not merely translate words; she recreates emotional landscapes. In Vanhans, she carefully retains the psychological depth, symbolic layers, and cultural tensions of Ibsen’s complex dramaturgy, while making it organically accessible to Assamese readers and audiences.

Adapting Ibsen — a playwright known for his intricate psychological realism — into Assamese was undoubtedly a formidable task. Speakers at the event acknowledged that Sharma’s scholarly engagement, linguistic precision, and refined theatrical sensibility have made this ambitious endeavour a resounding success.

Guest speaker Parag Samarah particularly praised Vanhans, noting that the adaptation preserves the soul of the original while speaking authentically to Assamese sensibilities. He also read selected excerpts in Assamese, allowing the audience to experience the lyrical strength and dramatic resonance of the text firsthand.

Six Seasons – Bhaskar Chandra Mahapatra

The second book launched on the occasion was Six Seasons, written in English by noted Odia playwright Bhaskar Chandra Mahapatra.

Speakers described Six Seasons as a reflection of the expanding multilingual canvas of Indian theatre writing. By choosing English as his medium, Mahapatra situates regional sensibilities within a wider literary framework, reinforcing the evolving and interconnected nature of contemporary Indian dramaturgy.

A Celebration of Multilingual Indian Theatre

This joint launch stood as a powerful testament to the spirit of Indian theatre — where languages are not barriers but bridges.

Under the vibrant platform of Bharat Rang Mahotsav, the confluence of a Norwegian classic reimagined in Assamese and an English play by an Odia dramatist symbolised the creative dialogue between global literature and Indian linguistic traditions.

The evening reaffirmed that theatre, at its core, transcends geography and language — continually creating new meanings through cultural exchange and artistic courage.

New Delhi, 8 February 2026:
Commemorating 75 years of the Indian Constitution, a one-day national symposium titled “कला अभिव्यक्ति : स्वतंत्रता एवं मर्यादाएँ” was jointly organised by the Ministry of Culture, Sanskar Bharati and the Indira Gandhi National Centre for the Arts (IGNCA). Held at the IGNCA auditorium on 8 February 2026, the event unfolded in a dignified yet intellectually vibrant atmosphere, emerging as a meaningful cultural platform that explored the dynamic relationship between art, constitutional values and contemporary society during the ongoing Amrit Mahotsav period.

The programme commenced with a ceremonial lamp-lighting by Dr. Sachchidanand Joshi, Dr. Sandhya Purecha, Shri Abhijeet Gokhale, Shri Vinod Narayan Indurkar and Shri Prabhat Kumar. In their opening remarks, the speakers highlighted the intrinsic connection between the Constitution, culture and artistic practice. They emphasised that the Indian Constitution is not merely a legal framework but a living embodiment of cultural consciousness — one that empowers artists with freedom of expression while simultaneously reminding them of social responsibility and ethical boundaries.

The first session, devoted to literature, featured insightful reflections by Dr. Sachchidanand Joshi, Dr. Alka Sinha and Shri Kishor Makwana. The panel discussed literature as a bridge between power structures, social realities and human sensitivity. Speakers observed that while the Constitution grants writers the freedom to articulate truth fearlessly, it also calls for thoughtful and responsible use of language.

In the second session on visual arts, Dr. Nandlal Thakur, Shri Neeraj Gupta and Ms. Situ Kohli explored the evolving landscape of contemporary and digital visual expression. They emphasised that visual art communicates beyond words and holds the power to mirror society. Constitutional freedoms, they noted, enable artists to challenge norms and provoke dialogue, provided that sensitivity and cultural balance remain central to creative practice.

The third session, centred on performing arts, brought together Dr. Sandhya Purecha, Shri Chetan Joshi and Ms. Vidya Shah. Through discussions on theatre, music and stage traditions, they reflected on the stage as a powerful medium for social engagement. Artists, they suggested, carry the responsibility to foster awareness, inclusivity and dialogue through their performances.

Cinema formed the focus of the fourth session, where Shri Atul Pandey, Shri Mustaza Ali Khan and senior journalist-film critic Shri Anant Vijay examined the wide-reaching influence of films on society. The panellists stressed the delicate balance between creative liberty and social accountability, highlighting the growing relevance of ethical storytelling in contemporary media landscapes.

During the valedictory session, Sanskar Bharati’s National Organisation Secretary Shri Abhijeet Gokhale drew connections between Bharat Muni’s Natyashastra, the rights and duties enshrined in the Constitution, and the need for contextually relevant artistic creation. He underscored that artistic freedom achieves its true significance only when aligned with cultural awareness and societal responsibility.

A distinctive feature of the symposium was the presentation of short street plays before each session, offering audiences an engaging thematic introduction. Complementing the discussions was an exhibition showcasing the contributions of women artisans involved in the making of the Constitution and highlighting the artistic dimensions embedded within its spirit.

Overall, the symposium emerged as an enriching and reflective cultural initiative — encouraging artists, scholars and audiences to re-examine the Constitution’s 75-year journey through the lens of creative practice. By fostering dialogue across disciplines, the event reinforced the enduring role of art as both a mirror to society and a catalyst for thoughtful change.

The Bharatanatyam recital “Dvi-itva: Divine Duality” was presented by Kaveri Abrol, disciple of National Award–winning Acharya Jayalakshmi Eshwar, on 4 February at 7:00 PM at The Stein Auditorium, India Habitat Centre, New Delhi. Conceptualised and choreographed by Acharya Jayalakshmi Eshwar, the performance followed a traditional mārgam structure, exploring the philosophical duality of Purusa and Prakrti—consciousness and creative force—through layered narratives, expressive abhinaya, and precise nṛtta.

Daughter of Professor Seema Bawa and Dr. Ashish Abrol, Kaveri has been training in the Guru–Shishya Parampara under Acharya Jayalakshmi Eshwar since the age of eight.

The recital opened with Ganapati Taalam in Gambhira Nattai raga and Adi tala, choreographed by Acharya Jayalakshmi Eshwar. The invocation established a contemplative atmosphere as the dancer portrayed Ganesha’s iconographic paradoxes—Ekadanta and Sukesa—with devotional restraint. The piece emphasised surrender and introduced the evening’s central theme of divine duality.

The expansive Vanajaksa Varnam (Bihag raga, Adi tala, composer T. R. Subramaniam) formed the conceptual core. Through multiple episodes involving Rukmini, Draupadi, Satyabhama, and the devotees of Braja, the dancer explored diverse emotional and philosophical registers surrounding Krishna. Her measured abhinaya and expressive clarity enabled seamless transitions between devotion, surrender, pride, and grace, allowing the rasa to unfold organically.

In Varattam Svami, a padam in Saveri raga and Misra Capu tala presented in the Kalākṣetra tradition, the dancer embodied a khandita nayika expressing longing and gentle reproach toward Lord Murugan. The intimate portrayal balanced emotional intensity with classical restraint, revealing the duality between deity and devotee through nuanced expression and subtle humour.

A highlight of the evening was Pasa Khelat Hai, composed in Raga-malika and Tala-malika, choreographed by Acharya Jayalakshmi Eshwar. Through the symbolic game between Radha and Krishna, the dancer explored divine leela, where apparent victory and defeat dissolve into spiritual unity. Her imaginative abhinaya, fluid transitions, and philosophical sensitivity enriched the narrative with depth and resonance.

The recital concluded with a vibrant Kuntaravaraḷi Tillana (Kuntaravaraḷi raga, Adi tala, composer Dr. Balamurali Krishna), a rhythmically charged finale that showcased technical agility, energetic leaps, and confident command over laya and space. The evening ended with a reflective verse from Saundarya Lahari by Ādi Sankaracarya, bringing the philosophical journey to a contemplative close.

Kaveri Abrol’s performance reflected a rare synthesis of intellectual engagement and instinctive artistry, where technique functioned not as display but as a vehicle for meaning. Her movements carried an internal rhythm that suggested deep listening and immersion in the music, allowing transitions between nritya and abhinaya to appear seamless and organic. She demonstrated a refined awareness of stage architecture, using stillness as effectively as motion, and allowing silence to hold emotional weight alongside gesture. Particularly impressive was her ability to sustain dramatic tension without resorting to overt theatricality; instead, she trusted the classical idiom and allowed subtle shifts in gaze, breath, and timing to shape the narrative. This restraint lent her performance a quiet authority, revealing a dancer who is not merely executing choreography but actively thinking and evolving within the tradition.

Overall, “Dvi-itva: Divine Duality” emerged as a disciplined and intellectually engaging Bharatanatyam recital that balanced conceptual clarity with emotional depth. Through refined technique, expressive maturity, and thoughtful choreography, Kaveri Abrol offered an evening rooted in sattva—a harmonious blend of devotion, reflection, and artistic sincerity.

As part of the ongoing Bharat Rang Mahotsav (BRM) 2026, the National School of Drama (NSD) recently hosted a compelling book launch and panel discussion for Ek Thi Ladki Urf Ve Kuch Pal, a new play by veteran journalist and playwright Anil Goyal.

Far more than a mere showcase of performances, BRM continues to serve as a vital intellectual hub where theater practitioners, scholars, and students converge to explore the evolving landscape of dramatic literature.
Memory as a Narrative Tool
Held at the Shruti Manch within the NSD campus, the event was moderated by Prakash Jha, who steered the conversation toward the play’s unique structural and linguistic nuances.

Anil Goyal described the work as a pure love story, spanning a vast temporal arc from 1974 to the present day. By weaving together the experiences of three generations, the play offers a panoramic view of changing emotional sensibilities.
Key highlights of the discussion included:

• Non-Linear Storytelling: The play eschews a traditional chronological plot, moving instead through the fluid corridors of memory and emotion.
• Dual Personification: In a striking directorial choice, the protagonist is represented by two versions on stage simultaneously—the younger self and the elder self—symbolizing the internal dialogue between past and present.
• The Language Debate: Addressing the “Ritikaal” (classical/ornate) influence on his prose, Goyal noted:

“Today’s youth possess a remarkable sensitivity. Even if the language feels ‘old-world,’ their willingness to embrace its depth is a heartening sign for the future of Indian theater.”

Distinguished speakers Prof. Pratap Sehgal and Shri J.P. Singh emphasized that the play prioritizes the “state of mind” over mere plot points. They noted that because the narrative returns to the past as frequently as a flickering memory, it defies conventional scene-and-act structures, lending it a distinct, avant-garde identity.

The panelists praised the work for its delicate portrayal of womanhood, time, and the ephemeral nature of “lost moments.”

The launch of Ek Thi Ladki Urf Ve Kuch Pal underscores the true essence of the Bharat Rang Mahotsav: viewing theater not just as a staged spectacle, but as a living tradition of dialogue and ideas. Anil Goyal’s latest contribution is a testament to the enduring power of simplicity and the complexity of the human heart.

A reading of playwright Dr. Harisuman Bisht’s new play Sunta Hai Koi was held on 2 February 2026 at Anuvrat Bhavan, New Delhi. The event witnessed the presence of senior theatre directors, playwrights, and active theatre practitioners from Delhi, transforming the reading into a meaningful space for dialogue rather than a routine literary exercise.

‘Sunta Hai Koi’ explores an invisible yet omnipresent system—one that governs lives without ever fully revealing itself. The play does not raise loud slogans against authority; instead, it quietly exposes the growing insensitivity within systems, the complexities of bureaucratic mechanisms, and the helplessness of the common citizen trapped inside them. This restrained and reflective approach gives the play its mature political and social depth.

One of the most striking structural elements of the play is the use of off-stage voices, which emerge as metaphors for power and authority. While certain sections of dialogue and ideological articulation may demand tighter theatrical compression from a performance perspective, the play’s conceptual clarity and symbolic language remain its greatest strengths. Characters—ranging from ordinary individuals like Ramswaroop and Mohan to representatives of institutional machinery—appear as recognisable faces of contemporary social reality.

The reading was followed by an in-depth discussion among theatre practitioners including Dr Harisuman Bisht, Dr Suvarn Rawat, J. P. Singh, Shyam Kumar, Mun Mun, Ashraf Ali, Rajesh Bakshi, Daksha Sharma, Mamta Karnatak, Priyanka Sharma, Bhupesh Joshi, Sanjeev Agnihotri, Manoj Chandola, Charu Tiwari, Hem Pant, Sudhir Pant, and Ramesh Kandpal (Anuvrat). The discussion highlighted the play’s strong relevance in the present socio-political context.

The collective response clearly indicated that ‘Sunta Hai Koi’ holds strong performative potential, and with focused direction, it can establish a powerful dialogue with contemporary audiences. The reading reaffirmed that ideologically driven theatre continues to be both alive and necessary within today’s Hindi theatre landscape.

On this occasion, Ramesh Kandpal from the Anuvrat organisation introduced the gathering to Anuvrat’s ideological vision, its cultural activities, and the architectural and cultural significance of the Anuvrat Bhavan. He also facilitated an interaction between the theatre practitioners and Munishri Udit Kumar, who appreciated the artists’ work and encouraged them to pursue more meaningful, serious, and socially relevant creative practices in the future.

Natsamrat transformed the LTG Auditorium, Mandi House, New Delhi, into a vibrant space of laughter and theatrical joy with four engaging performances of two popular comedy plays on 26 January 2026. Directed with confidence and flair by Shyam Kumar, the evening stood out as a celebration of popular theatre, combining sharp humour, energetic performances, and relatable social themes that resonated strongly with the audience.

The programme opened with Anton Chekhov’s iconic one-act comedy The Proposal. What begins as a simple marriage proposal soon descends into a series of hilariously exaggerated arguments over land, pride, and even a pet dog. The production sparkled with impeccable comic timing, crisp dialogue delivery, and high-voltage performances. The actors handled Chekhov’s fast-paced exchanges with remarkable ease, ensuring sustained laughter and spontaneous applause throughout the performance.

The second presentation, Kallu Nai MBBS, brought a refreshing shift in tone with its rooted, desi humour and sharp rural satire. The play revolves around a drunken and oppressive barber whose wife decides to teach him a lesson in his own language. The narrative takes a comic turn when two servants searching for a doctor to cure their master’s mute daughter forcibly turn the barber into a ‘doctor’. Packed with situational comedy, witty dialogues, and colourful characters, the play not only entertained in abundance but also subtly commented on social hypocrisies, superstition, and domestic violence, making the humour both engaging and meaningful.

Performers Munmun, Rajan K. Batheja, Shivangi, Raman Kumar, Aman Kumar, Vansh Rathore, Shammi, and Ansh Rathore brought infectious energy to the stage, keeping the audience thoroughly engaged from beginning to end. Their spirited performances, supported by disciplined direction, ensured that every comic moment landed effectively.

The success of both productions was equally strengthened by the dedicated efforts of the backstage artists and technical team. Behind the scenes, Sunil Rathore, Suraj Singh, Pawan, Nisha, Poonam, Rani, Rohit Prasad, Rohit Prasad, and Poonam contributed significantly through efficient costume management, enhancing the visual authenticity of the performances. The musical atmosphere created by Vansh Rathore added rhythm and emotional texture to the scenes, further amplifying the overall stage impact.

With these back-to-back comic successes, Natsamrat once again reaffirmed its command over popular theatre. The productions proved that when lively performances, thoughtful direction, and strong backstage support come together, comedy theatre becomes not just entertainment, but a powerful and memorable theatrical experience.

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.