“Gutur-Gu! Gutur-Gu!” — A Playful Symphony of Laughter, Music and Meaning

In a theatrical landscape where comedy often skims the surface, “Gutur-Gu! Gutur-Gu!” stands out as a refreshing blend of humour layered with emotional depth. This vibrant production, presented by Modern School Old Students’ Association as its landmark 60th show, was staged at Shri Ram Centre, New Delhi from April 2 to 4, 2026. What unfolded on stage was not just a comedy of situations, but a carefully crafted experience that kept the audience laughing, reflecting, and thoroughly engaged.

Presented under the direction and design of J. P. Singh, this production—originally based on Prof. Toradmal’s Marathi work—emerges as a lively Hindustani farcical comedy, with strong creative support from co-director Aditi Sharad. A seasoned theatre practitioner with nearly four decades of experience, Singh brings to the stage a keen understanding of rhythm, timing, and emotional layering. His direction ensures that the narrative flows effortlessly—never overstaying its welcome, never losing its energy. There is a sense of control and confidence in the staging that allows both humour and emotion to breathe naturally.

The play opens on a strikingly memorable note. Pradeep Kukreja’s poetic introduction is a delightful prelude that immediately wins over the audience. With a lyrical cadence and a sharp comic edge, his performance evokes laughter and applause in equal measure. It is not merely an introduction—it is an invitation into the world of the play, setting the tone with finesse and flair.

Set against the familiar yet ever-engaging backdrop of a university hostel, the narrative celebrates the carefree spirit of youth with infectious enthusiasm. The characters move through a world of friendships, harmless mischief, budding romances, and playful banter. These moments are crafted with such ease and relatability that the audience finds itself smiling in recognition. There is an unmistakable warmth in these scenes—an echo of shared memories and youthful abandon.

Yet, what elevates “Gutur-Gu! Gutur-Gu!” beyond a light-hearted comedy is its emotional undercurrent. Running parallel to the youthful vibrancy is the quieter, more introspective world of senior teachers. Their loneliness, their subtle anxieties about ageing, and their attempts—sometimes humorous, sometimes poignant—to reconnect with a fading sense of youth are portrayed with sensitivity and nuance. This juxtaposition creates a compelling duality: laughter on the surface, introspection beneath.

The ensemble cast delivers a consistently engaging performance, bringing authenticity and charm to every scene. The on-stage chemistry between Rashmi Vaidialingam, Sanjiv Saluja, and Attin Rastogi was exceptional, with their impeccable comic timing adding great charm to the performance. Sanjeev Saluja and Roopak Kathpalia contribute effectively with their nuanced performances, while Attin Rastogi adds a distinct presence on stage.

Among the younger ensemble, Sivain Vaidialingam, Sachin Wahi, and Sahil Arora infuse the play with energy and spontaneity. Their natural comic timing and effortless interactions make the lighter moments truly enjoyable. Vaidehi Sharma brings grace and balance to the narrative, while Rajkamal Sharma, Roopak Kathpalia, Kshitz Sanghi, Aakash Narula, Aarti Arora Khanna, Mohit Agrawal, Bhanu Sethi, Nandini Sharma, Pawan Kumar, Reet Bhatia and Ridhi Dish ensure that the ensemble remains cohesive and lively throughout.

One of the most delightful aspects of the production is its clever use of popular film tunes woven seamlessly into the narrative. These musical interludes act as emotional cues as well as comic enhancers—heightening the impact of scenes without ever feeling forced. At times nostalgic, at times playful, they keep the audience connected and add a rhythmic charm to the storytelling.

The technical aspects of the play—its stage design and lighting—are marked by a refreshing simplicity. Choreography by Bharti Dang. Rather than overwhelming the narrative, they complement it, allowing the performances and the writing to take centre stage. The pacing of the play is particularly commendable; it moves with a steady rhythm that keeps the audience invested from beginning to end.

What ultimately makes “Gutur-Gu! Gutur-Gu!” memorable is its ability to strike a delicate balance. It entertains without being frivolous, and it reflects without becoming heavy-handed. It reminds us that behind every burst of laughter, there often lies an unspoken truth—and it is in acknowledging both that theatre finds its true power.

In the end, this is not just a play you watch—it is an experience you carry with you. Light-hearted yet meaningful, humorous yet humane, “Gutur-Gu! Gutur-Gu!” leaves you smiling… and thinking, long after the curtain falls.




“Nadi Pyasi Thi”: A Hauntingly Beautiful Exploration of Human Emotions and Relationships

New Delhi | March 26–27, 2026 — The stage came alive with intensity and introspection as Nadi Pyasi Thi, presented by the Disha Group of Visual and Performing Arts, unfolded as a deeply moving, thought-provoking, and emotionally layered theatrical experience. Supported by the Ministry of Culture, Government of India, the production was seamlessly coordinated by Dr. Satya Prakash Verma, directed with finesse by Suraj Kumar, and guided by Sampa Mandal, whose artistic vision resonated throughout the performance.

The play was staged on March 26 at Mitra Rangmanch Auditorium, Madhu Vihar, followed by an equally compelling presentation on March 27 at Padma Shri Daya Prakash Sinha Theatre Studio and Art Gallery, Bhajanpura, where it left audiences visibly moved and contemplative.

Rooted in the ideas of eminent writer Dharamvir Bharati, the play delves into the intricate psychological layers of orthodoxy, insecurity, and possessiveness that often shape human relationships. The central metaphor of the “river” is profoundly evocative—flowing endlessly on the surface, yet internally parched, symbolizing the unfulfilled desires and emotional void that linger within the human soul.

The narrative is driven by five key characters—Rajesh, Shankar, Sheila, Padma, and Krishna—portrayed with remarkable depth and authenticity by a talented ensemble cast. Suraj Kumar (Shankar), Gagan Chaudhary (Rajesh), Aditya Srivastava (Krishna), Megha (Padma), Disha Negi (Sheila), and Pushkar Sagar (Shankar/Doctor’s Assistant) delivered power-packed performances, marked by natural dialogue delivery and compelling on-stage chemistry, which brought the story vividly to life.

Behind the scenes, the technical team added significant value to the production’s emotional impact. Payal Dhirashri’s music beautifully underscored the narrative’s emotional depth, while Naresh Singh and Neera Singh’s lighting design enhanced the psychological nuances of each scene. Costume designers Nitish Jha and Anjana Tiwari ensured visual authenticity, and Sandhya Verma’s makeup lent a lifelike presence to every character.

Director Suraj Kumar deserves special mention for his restrained yet powerful storytelling approach. By steering clear of unnecessary theatrics and focusing on the core emotional essence, he ensured that the narrative remained intimate, immersive, and impactful. The fluid scene transitions, controlled pacing, and rhythmic dialogue delivery kept the audience engaged till the very end.

In essence, “Nadi Pyasi Thi” is more than just a play—it is a poignant mirror to the human condition, reflecting the complexities of the mind, the fragility of relationships, and the silent struggles within. With its compelling narrative, nuanced performances, and thoughtful direction, the production stands out as a memorable and soul-stirring theatrical experience.




महत्‍वाकांक्षी – MAIN- THE AMBITIOUS ME

VOICE ARISES FROM NOWHERE-

From the vicinities of the dark, where darkness empowers, there was a sudden jolt thunder struck, and she came, laboured with the sense of being heavy, fraught with difficulties and screamed…”I have not done anything…be just be fair and tell me why am I exiled. The indestructible force of nature, let me know what have I done to receive this? Laughter? you laugh at my plight? who are you? well I am the one whom you do not want to know —dear— there is not way I reason out my existence but I do exist…I am the self-centered, the ghoric woman who wished for the longevity of my son…what’s wrong in it? he deserved it. He was strong and so he won… and I? I was defamed all over just because of my desire to have him? why? It is important that we all engage in ratiocination. Is it bad to be bad? justice is served ONLY when you be vicious.

“Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty!”
“Come to my woman’s breasts,
And take my milk for gall, you murdering ministers…”

“What’s done cannot be undone.” (VERY SOFTLY BUT EMPHATICALLY)

WHY? Why Why do you think so?
I can turn the tables…I know I can plunge on goodness and make it helpless

I can make the good- the CRASS.

(hysterical laughter from nowhere)

Your crudity, got you noseless mind you madam.

It is not crudity that can bring you the filthy victory that we long for since time immemorial

It is diplomacy…the main motto of one’s life should be how to be nasty under the garb of politeness.

The shrewd manoeuvring that can bring marvellous results…

I can motivate goodness, mind you, not provoke it but manipulate it to discard its smooth skin and evince its crudity.

SCENE IN A STAFFROOM-

 1- Please dear, understand! I have deleted those files!

 2-But you had them with you!

  1. (diabetically) No dear! There is no way! I do not have them with me at all. It is vital that you understand my issue.
  2. Oh! No!
  3. No worries! Call her and tell her!
  4. But she will be annoyed.
  5. Not at all. I know she will understand.
  6. Ok. (calls) Ma’am, I have to tell you that I deleted those files! Sorry! But…
  7. I will give you a MEMO. I do not want to listen to anything! You are so horrible!
  8. (sadly) sorry!
  9. (Calls in a while to 1) Hey! Listen(with a nasty smile) I got the files on my computer. I have them with me. Do not worry. You send them to her.
  10. Accha? (resigned tone) ok.

(After a few days…)

  1. I heard 2 got promoted?
  2. 4-Yes indeed! She had it in her!
  3. Yes. Indeed. She KNEW HER CRAFT WELL… (Background song- Sabkuch seekha humne…na sikhi hoshiyari…sach hai duniyawalon ke hum hain anari…)

THE VOICE IS BACK-

See! You do not need to be RUDE – GHORY!!!!!! (STRETCH)

You need to be NASTY- BE NASTY-

SCENE IN A HOME

  1. Hi!
  2. Hello!
  3. Your voice is so sweet
  4. -Oh is it?
  5. It is music to my ears!
  6. Why are you doing this with me? Flirting?
  7. No! I am sincere. In fact, I wanted to tell you… I want a lifetime companionship with YOU!
  8. OK. So come let us marry.
  9. Marry? No. No.
  10. What is lifetime companion then?
  11. Friendship! Obviously! How foolish of you to think it this way. I never meant it
  12. But…you said it and I know it that you meant marriage.
  13. See it is a matter of interpretations.
  14. But I could hear it in your expressions!
  15. You are very emotional, don’t be. Enjoy your life.
  16. (TO THE AUDIENCE) I know he meant it! I could read it in his lines…the way he spoke but I cannot make anyone explain. Anyways, I invested. I am so sorry!

(After some days…)

  • What? The show was a superhit? Is it?
  • Yes!!! God is so kind. It is very important.
  • Yes. God is very kind to give people success…UNDESERVING…UFF!
  • Let it be. Leave it.

VOICE- See! Goodness is a piece of ——— whatever you want to call it. It is not important or worthy. Nastiness counts. It is the need of the hour. It is mandate. If you are not nasty who cares for you? Who likes you? Who loves you? Goodness gets paid is a MYTH. The most successful people are those who are nasty- Who is not ambitious today? Everybody is? But is it necessary to be this foul? Well, the answer is YES. IF YOU ARE NOT FOUL…YOU CANNOT BE FAIR—FOR- FAIR IS FOUL AND FOUL IS FAIR.

Enter a beautiful lady wearing a white gown…I have sown the seeds of his downfall. By giving me his word, he has planted his own destruction. My interest needs to be secured. So, Oh! the great King hear now carefully. Your beloved son will be exiled and my beloved son will inherit your property. (silence all around and there enters a haunch back woman. Now she speaks aloud and confidently) So, I fed it in her mind to make him realize he owned her three promises. See! It worked! I knew the King was very true to his word. He would die but break his promise. So simple and truthful…hahahahaha. (a voice utters) I HAVE BRAINS YOU KNOW….YES. I AM NASTY/VERY VERY NASTY.

ENDING SCENE – DARK HUMOUR, MYTH, AND MODERNITY COLLIDE

(Lights flicker. A low, echoing drum. The white-gowned lady freezes mid-smile. The hunchback woman’s laughter stretches into a distorted echo. Suddenly—another presence. A blazing red light floods the stage.)

ENTER – A WOMAN IN FLAMES (SYMBOLIC DRAUPADI ENERGY, NOT NAMED)
Her hair is open. Her voice—like thunder restrained.

WOMAN IN FLAMES (calm, terrifying):
Cloth…you gambled with cloth once.
Today…you gamble with conscience.
Tell me…how many times will you strip truth…
and still call it diplomacy?

(Silence. The nasty voice chuckles.)

VOICE (mocking):
Oh please…not another sermon.
We’ve moved on. This is not some epic age.
This is performance appraisal era.
Targets. Promotions. Alignments. Survival.

WOMAN IN FLAMES (steps forward):
And yet…
every time deceit wins,
a war begins somewhere.

(A pause. The hunchback woman circles her.)

HUNCHBACK WOMAN (smirking):
War? No dear…
War is outdated.
Now we have subtle destruction.
Emails. Silence. Smiles.
(leans in) CC and BCC are the new weapons.

(Audience laughter—dark.)


CONTEMPORARY SCENE (PARALLEL DIALOGUE)

(Two office colleagues—1 and 2. Soft white light.)

1:
Hey…you handled that meeting brilliantly!

2 (smiling):
Oh thank you! Means a lot.

1:
I told the boss it was all your idea.

2 (genuinely touched):
Really? That’s so kind of you…

(Pause. 2 exits. 1 turns slowly to audience, expression shifts.)

1 (whispering):
Of course…
I also told him she missed the deadline.
Balance, you see.

(Lights dim on 1. A notification sound echoes.)


BACK TO CENTRAL CHAOS

(All characters now on stage. Overlapping voices. The nasty voice rises again.)

VOICE:
See? SEE?
No blood. No battlefield.
Still…complete annihilation.
This is evolution!

(The woman in flames raises her hand. Silence crashes in.)

WOMAN IN FLAMES (soft but piercing):
And yet…
You tremble when alone.
Because somewhere—
you know…
even victory has a witness.

(A long pause. The white-gowned lady falters.)

WHITE-GOWN LADY (almost breaking):
But…if I hadn’t done it…
I would have lost everything…

VOICE (interrupting sharply):
Exactly!
That is the point.
Lose them before they lose you.


(Suddenly, the background song returns faintly:
“Sabkuch seekha humne…” but distorted, almost mocking.)


FINAL TURN – DARK HUMOUR PEAK

(All lights focus on the hunchback woman. She straightens slightly—almost regal now.)

HUNCHBACK WOMAN:
Morality is a luxury item.
Not everyone can afford it.

(She looks at the audience directly.)

HUNCHBACK WOMAN (smiles):
So…
what will you choose?
Promotion…or peace?

(Beat.)

VOICE (whispers from everywhere):
Careful…
Peace has no incentives.


LAST IMAGE

(The woman in flames begins to fade… but her voice lingers.)

WOMAN IN FLAMES (echoing):
Every act writes a war…
even if no one fights it…yet.


(Blackout.)

A FINAL LAUGH—UNCERTAIN WHETHER IT IS TRIUMPH… OR DOOM.

ULTIMATE LAST MOMENT (AFTER BLACKOUT… A SINGLE SPOTLIGHT RETURNS)

(Complete silence. Then—her voice. Not loud. Not hysterical. Controlled. Owning everything.)

VOICE (slow, deliberate, almost intimate):
Mahatvakankshi… main.

(Pause)

Yes… I desired.
Yes… I planned.
Yes… I became.

(A faint, unsettling chuckle)

तुम सब भी हो
बस स्वीकार नहीं करते।

(दृढ़स्वरमें)
फ़र्क सिर्फ इतना है
मैंने अपनी इच्छाओंको नाम दिया
और तुमने उन्हें नीति कह दिया।

(एकअंतिम, तीखावाक्य)
महत्‍वाकांक्षी मैं हूँ
और शायद
सबसे ईमानदार भी।


(A sharp sound—like a stamp of finality. Lights out.)




23rd Natsamrat Natya Utsav Brings Vibrant Theatre to Delhi’s Cultural Stage

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.




Theatre Evening at the 23rd Natsamrat Theatre Festival: “Dayashankar Ki Diary” and “Gadhe Ki Baraat”

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.




“Laajo” — A Moving Reflection on Partition and the Dignity of Women

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.




Sharp Satire and Lively Performances Mark Kallu Nai M.B.B.S. at 23rd Natsamrat Natya Utsav

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.




A Delightful Presentation of Chekhov’s “The Proposal” at the 23rd Natsamrat Natya Utsav

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.




Chuhedani Staged at the 23rd Natsamrat Natya Utsav

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.




Grand Opening of the 23rd Natsamrat Natya Utsav with Marilyn Monroe

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.