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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

🌙 A Mirror to the Human Conscience

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

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

🎬 Direction: Simplicity with Depth

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

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

🌟 Performances that Breathe Life into Words

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

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

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

🎨 Behind the Curtains: The Invisible Strength

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

💭 Final Takeaway

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

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

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

Presented under the joint banner of Drishyama Trust and Disha Group of Visual and Performing Arts, the acclaimed Marathi playwright Jayant Pawar’s play “Abhi Raat Baaki Hai” was staged on October 24, 2025, at 6:30 p.m. in the Sammukh Auditorium at the National School of Drama (NSD), New Delhi.

Based on insights shared by Dr. Satya Prakash, the play draws inspiration from the industrial strikes of the 1980s, portraying the struggles of the working class. It powerfully reflects the economic disparities that divide society and the fragile emotional bonds that hold families together.

The narrative centers around Aai, a mother who, after her husband’s death, strives to keep her family united amid growing emotional and financial turmoil. Her four children, each absorbed in their own ambitions and conflicts, gradually drift apart — one toward literature, another into sports, one down a destructive path, and the daughter misled under the guise of work.

Shampa Mandal, who both directed the production and essayed the role of Aai, delivered a performance marked by depth, restraint, and emotional precision. Her portrayal of maternal resilience and fatigue formed the beating heart of the play.

The ensemble cast — Shikha Arya, Aditya Mukul, Gagan Chaudhary, Aryan Singh, Sufiyan, Sachin, Mani, Saif, and Udit — performed with sincerity and control. Deepak Rana’s stage design authentically recreated the humble atmosphere of a working-class home, while Dhirendra’s lighting and Vishal Jodi’s music amplified the emotional cadence of the narrative.

The costume design team — Nitin Tiwari, Nitish Kumar, Chanchal Agarwal, and Neeraj Singh — enhanced the realism of the characters, supported by Vikas Verma’s photography, Noor Khan’s videography, Madhvi’s post-production, and props by Udit Kohli and Aryan Singh.

Mr. P.K. Mohanty, Registrar of the National School of Drama, who attended the show, praised the direction and performances, calling it “an artistically accomplished and emotionally stirring experience.”

According to Dr. Satya Prakash, the audience was deeply moved by the performance. “There was a profound silence in the hall — the kind that speaks of shared empathy,” he observed. “This play did not just unfold on stage; it lingered in the hearts of those who watched it.”

In essence, “Abhi Raat Baaki Hai” stood out for its thoughtful direction, powerful performances, and sensitive depiction of social and emotional realities. It was not merely a play — it was an experience that resonated long after the curtain fell.