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

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

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

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

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

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

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

On 22 May 2026, at the iconic in Mandi House, Delhi, Rangbhoomi Delhi presented “Gandhari: Beyond the Blindfold”, a deeply moving theatrical production that transformed the epic narrative of the Mahabharata into a profound exploration of womanhood, grief, motherhood, silence, and resistance.

The auditorium was completely packed, and from the very first moment, the performance created an atmosphere of intense engagement and emotional anticipation. The audience remained immersed throughout the production, experiencing every moment with complete stillness and attention.

A Beautiful and Immersive Opening

The play opened with a visually mesmerizing scene. Gandhari sits on the stage holding a Veena, and as the soft, soothing notes of the instrument slowly begin to resonate through the auditorium, a serene and emotionally rich atmosphere takes shape. The delicate melody beautifully reflects Gandhari’s pure, graceful, and compassionate inner world.

The music does not simply introduce the play — it gently draws the audience into Gandhari’s emotional universe. Soon after, the Sutradhar enters, and the narrative begins unfolding layer by layer. It was an opening filled with poetic beauty and theatrical sensitivity.

The Vision of J.P. Singh / Jayvardhan

The greatest strength of the production lies in its writing and direction. J.P. Singh, who writes under the pen name Jayvardhan, deserves immense appreciation for creating and directing such an emotionally layered and symbolically rich theatrical experience.

His direction proves that meaningful theatre is not dependent on elaborate sets or spectacle, but on emotional truth, rhythm, symbolism, and sensitivity. Every movement on stage, every silence, every pause, and every transition appears carefully crafted.

The symbolic treatment of characters, the restrained performances, the use of masks, music, lighting, and stage movement together create a theatrical language that feels both poetic and deeply human. The actors are able to perform with such emotional depth because of the clarity and precision of the director’s vision.

Rather than presenting the Mahabharata as a grand mythological spectacle, J.P. Singh focuses on the emotional and psychological suffering hidden within its characters — especially Gandhari. This approach gives the production contemporary relevance and emotional intensity.

Anamika Sagar as Gandhari — The Soul of the Production

If the production has a heartbeat, it is undoubtedly Anamika Sagar’s portrayal of Gandhari. Her performance is deeply internal, emotionally restrained, and extraordinarily powerful. She transforms Gandhari from a mythological figure into a living, breathing woman filled with pain, dignity, helplessness, anger, and maternal grief.

Her body language, vocal depth, expressions, and even her silences communicate volumes. There are moments when she says nothing, yet the audience can feel the emotional storm raging within her.

The most unforgettable sequence comes after the war, when Gandhari mourns the death of her hundred sons and her suppressed anger toward Krishna finally erupts. The scene is emotionally devastating.

Anamika Sagar portrays the unbearable pain of a mother shattered by loss with such honesty and intensity that the entire auditorium falls silent. Her grief feels real, raw, and deeply human. The emotional impact of the scene sends chills through the audience, while many viewers are left visibly teary-eyed.

What makes her performance exceptional is that she balances Gandhari’s tenderness and rage with remarkable control. She never overacts; instead, she allows the pain to emerge gradually from within, making the character unforgettable.

Tripti Johri’s Transformative Performance

As the Sutradhar, Tripti Johri delivers a remarkable and highly versatile performance. She not only narrates the story but also embodies multiple characters from the Mahabharata, including Kunti, Sanjay, Draupadi, and the maidservant.

Without relying on elaborate costume changes, she differentiates each character through voice modulation, body movement, rhythm, and expression. Her transitions between characters are smooth, convincing, and emotionally engaging.

Her portrayal of Draupadi is particularly striking. The emotional intensity in those scenes is so powerful that it repeatedly sends shivers through the audience. The pain, humiliation, anger, and emotional vulnerability expressed through her performance leave a deep impact, and several moments visibly move the audience to tears.

Masks, Symbolism and Visual Language

Another remarkable aspect of the production is its symbolic visual design. Several characters appear wearing masks, transforming them into representations of power, violence, emotional blindness, and the dehumanizing effects of war.

The symbolic staging gives the play a haunting philosophical depth and creates striking visual imagery without relying on excessive theatrical decoration.

In the play Gandhari, The Female Visual Group included Poonam Singh, Mansi Brar, Shreeya Kumar, Sangeeta Suyal, and Jyotsna Chakrabarty, while the Male Visual Group comprised Arun Sode, Ravi Parcha, Jitender Chauhan, Pawan Chauhan, Bhanu Sethi, Kaustubh Pandey, Anurag Malik, Atul Dhingra, and Prithviraj Chauhan.

Lighting and Music as Emotional Forces

The lighting design was exceptionally beautiful and atmospheric. The interaction between darkness and focused light reflected the psychological states of the characters with remarkable precision.

Music by Bharati Dang was truly remarkable. From the very beginning, the soft and soothing notes of the Veena created an atmosphere of serenity and emotional depth inside the auditorium. The gentle melody beautifully reflected Gandhari’s graceful and compassionate inner self.

As the narrative progressed, the music evolved alongside Gandhari’s emotional journey — carrying her silence, sorrow, motherhood, helplessness, and inner conflict with extraordinary sensitivity. Rather than functioning merely as background sound, the music became an emotional extension of the characters themselves.

In several moments, the music seemed to breathe with the actors, enhancing the emotional depth of every scene and enriching the poetic texture of the production.

The backstage team featured Akhya Jaywardhan for Design & Publicity, Costume Design, and Visual Concept, while Ved Phoja managed Set Execution, Harish Kholia was responsible for Makeup, and Atul Mishra handled Light Execution. Costumes were managed by Dalchand, and Visual Projection was created by Sanobar Bari. Videography was handled by Noor Khan, Photography by Ansh Jaywardhan, and Props by Jitender Chauhan and Akhya.

The Production Assistants were Pawan Chauhan and Ravi Parcha, Public Relation was managed by Amar Saha, and the Box Office team included Gaurav Verma, Vashisth Upadhyay, Jatin Joshi, Rakesh Sharma, Naman Bharadwaj, and Jyoti Upadhyay. The Stage Manager was Arun Sode, while Jitender Chauhan served as the Assistant Director. Together, the entire cast and backstage team made Gandhari a memorable theatrical presentation.

A Theatre Experience That Stays With You

“Gandhari: Beyond the Blindfold” is far more than a retelling of the Mahabharata. It is a deeply human story about motherhood, trauma, silence, feminine resistance, and emotional survival.

Through the combined brilliance of Jayvardhan’s writing, J.P. Singh’s direction, Anamika Sagar’s hauntingly powerful performance, Tripti Johri’s transformative acting, and Bharati Dang’s emotionally resonant music, the production becomes an unforgettable theatrical experience.

This is the kind of theatre that does not end when the curtain falls — it remains alive within the audience long after they leave the auditorium.

The stage of the India Habitat Centre recently witnessed an emotionally charged and intellectually layered presentation of “Madhavi”, brought to life by Anuragna Theatre Group under the direction of Ashraf Ali. Adapted from the celebrated literary work of Bhisham Sahni, the production unfolded not merely as a retelling of a mythological narrative, but as a deeply resonant exploration of the emotional and social realities imposed upon women across generations.

From its opening moments, the play established an atmosphere of emotional intensity and moral conflict. The narrative of Madhavi — a woman repeatedly sacrificed in the name of duty, ambition, and patriarchal expectations — emerged as painfully relevant even within a contemporary social context. The production questioned the structures that normalize female sacrifice while glorifying male pride and authority, making the performance feel both timeless and urgently modern.

✨ A Visionary Directorial Approach

Director Ashraf Ali handled the text with remarkable maturity and restraint. Instead of relying solely on the grandeur of mythology, he focused on the emotional truth embedded within the story. His interpretation transformed Madhavi into a living social discourse — one that examined exploitation, emotional abandonment, and the silent endurance expected from women.

The staging remained aesthetically balanced throughout, with carefully designed visual transitions and thoughtfully constructed dramatic spaces. Every movement on stage appeared purposeful, allowing the emotional weight of the scenes to unfold naturally. The director’s command over rhythm and silence played a significant role in maintaining the audience’s engagement and emotional involvement.

🌟 Performances Rich in Emotional Depth

The ensemble cast contributed meaningfully to the production’s overall impact, delivering performances marked by sincerity and dramatic conviction.

Bhanu Pratap Singh, portraying Yayati, brought a commanding presence to the stage, effectively embodying the authority and emotional detachment of the character. As Marich, Gaurav Verma delivered a composed and convincing performance that added further texture to the dramatic narrative.

One of the strongest performances of the evening came from Vinay Kumar as Galav. He captured the character’s internal contradictions — his ambition, ego, helplessness, and moral confusion — with notable subtlety. His portrayal allowed the audience to witness the complexity of a man trapped between idealism and self-interest.

At the center of the production stood Paribhasha Mishra as Madhavi, whose performance became the emotional soul of the play. With extraordinary control and emotional honesty, she portrayed Madhavi’s suffering, resilience, vulnerability, and quiet defiance. Her expressions, pauses, and stage presence communicated layers of pain and suppressed strength, making the character deeply human rather than symbolic. Her performance drew the audience into Madhavi’s emotional world and remained one of the most memorable aspects of the production.

Javed Sameer, in the role of King Haryashch, added gravitas to the narrative, while Khilanand Bhatt as Raj Jyotish delivered his role with convincing authority.

Vidya Dutta, portraying the maidservant, contributed emotional realism to several scenes through a grounded and natural performance. Meanwhile, Himmat Singh Negi as King Divodas introduced moments of wit and playfulness that offered temporary relief from the emotional heaviness of the narrative. His energetic portrayal created a delicate balance within the dramatic structure.

As the Vidushak, Bilal Khan sustained the stage’s dynamism with confidence and expressive timing. Chirag Goyal, portraying Vishwamitra, delivered a performance marked by calm intensity and dignity, lending the character a powerful spiritual and philosophical presence. Ankit Sati, in the role of Tapas, also played his part with sincerity and effectiveness.

🎼 Technical Elements That Strengthened the Narrative

The technical execution of the production complemented the performances beautifully and contributed significantly to the immersive quality of the play.

Rahul Chauhan’s lighting design skillfully shaped the emotional atmosphere of each sequence, using light and shadow to heighten tension, isolation, and introspection.

The background score composed by Rajesh Pathak enriched the emotional landscape of the production, subtly reinforcing the mood without overpowering the performances.

Equally noteworthy was the makeup design by Ravi Parcha, which enhanced the visual authenticity of the characters and supported the period setting of the play.

💭 A Production That Leaves a Lasting Impact

More than a theatrical adaptation, “Madhavi” emerged as a mirror to society’s enduring power structures and gender inequalities. The production compelled the audience to reflect on the emotional cost of sacrifice imposed upon women and the systems that continue to celebrate such suffering as virtue.

With its layered storytelling, emotionally compelling performances, thoughtful direction, and strong social relevance, the play succeeded in creating a theatrical experience that was not only artistically engaging but also deeply unsettling in the most meaningful way. “Madhavi” lingered in the minds of its viewers long after the curtains fell, reaffirming the enduring power of theatre as a medium of social reflection and emotional truth.

New Delhi | April 26, 2026

In a dignified, intellectually vibrant, and culturally enriching atmosphere, Sanskar Bharati’s Kala Sankul successfully organized its prestigious monthly seminar at Kala Sankul, 33 Deen Dayal Upadhyay Marg, New Delhi.

Kala Sankul’s monthly seminar series is dedicated to creating a meaningful cultural platform where artists, scholars, writers, and intellectuals come together to discuss contemporary challenges related to Indian art, literature, theatre, and heritage. Through these regular seminars, Kala Sankul aims to strengthen cultural consciousness, inspire creative dialogue, and preserve India’s timeless civilizational values for future generations.

This month’s compelling theme, “Challenges in Preserving Indian Cultural Values in Dramatic Writing,” inspired deep reflection and scholarly discussion among distinguished participants.

A Traditional and Auspicious Beginning

The seminar commenced with the traditional ceremonial lamp lighting, symbolizing knowledge, wisdom, and the continuity of India’s cultural legacy. The inaugural ceremony was graced by senior theatre personality Mr. Suman Kumar, Sanskar Bharati’s Central Office Secretary Mr. Ashok Tiwari, National School of Drama Repertory Chief Mr. Rajesh Singh, and renowned Kathak exponent Pratibha Ji. Their presence added immense grace and significance to the occasion.

Powerful Reflections on Indian Theatre and Cultural Preservation

As the chief guest and keynote speaker, Mr. Suman Kumar delivered a deeply insightful address, emphasizing that Indian theatre is not merely an artistic medium but an inseparable part of the nation’s cultural heritage. He observed that in an era shaped by globalization and rapid modernization, preserving the essence of Indian cultural identity in dramatic writing has become increasingly challenging.

He strongly asserted that playwrights and theatre practitioners bear a moral and creative responsibility to protect and promote Indian values through their literary and theatrical works. Drawing inspiration from folk traditions, indigenous narratives, and Indian philosophical thought, he noted, can make dramatic writing more authentic, impactful, and culturally rooted.

His central message resonated strongly:

Creative expression must serve as a powerful vehicle for preserving India’s cultural soul.

A Shared Intellectual Vision

The seminar witnessed unanimous agreement among scholars, artists, and cultural thinkers that the new generation of playwrights must remain deeply connected to their cultural roots in order to create meaningful, relevant, and enduring theatrical literature.

Expertly Conducted and Thoughtfully Moderated

The event was skillfully conducted by the accomplished compere Bharti Dang Ji, whose eloquence added vibrancy to the proceedings. The discussions were effectively moderated by analyst, social thinker, and young litterateur Mr. Varun Soni, who provided intellectual depth and direction to the dialogue. The formal vote of thanks was gracefully presented by dancer Shruti Sinha.

Distinguished Presence from the Cultural Fraternity

The occasion was further elevated by the presence of numerous eminent personalities from the fields of art, literature, and theatre, including Odissi dancer Dr. Chandana Roul, sitar maestro Mr. Umashankar Ji, senior journalist Anita Chaudhary, Mrs. Renu Khantwal, theatre artist Bhupesh Joshi, Mr. Divakar Dubey, Mr. Praveen, and several other respected dignitaries.

Behind the Success

The successful execution of this intellectually significant seminar was made possible through the dedicated contributions of Garima Rani, Sneha Mukherjee, Ritambhara, Sakshi Singh, Priyanka Poudel, Deepika Thakur, and Swati Sharma, whose efforts were widely appreciated.

A Continuing Commitment to Cultural Awakening

In conclusion, participants strongly emphasized the importance of organizing such seminars regularly, recognizing them as essential forums for promoting artistic awareness, preserving cultural values, and nurturing India’s rich intellectual and creative traditions.

Kala Sankul continues to emerge as a vital force in shaping cultural discourse and reinforcing the foundations of Indian artistic heritage.

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The event commenced with the traditional ceremonial lamp lighting, graced by chief guest and senior theatre personality Mr. Suman Kumar, Sanskar Bharati’s Central Office Secretary Mr. Ashok Tiwari, National School of Drama Repertory Chief Mr. Rajesh Singh, and renowned Kathak exponent Pratibha Ji. This auspicious beginning set the tone for an engaging and meaningful discourse.

In his keynote address, chief guest Mr. Suman Kumar emphasized that Indian theatre’s rich legacy forms an inseparable part of the nation’s cultural heritage. He observed that in an era increasingly influenced by globalization and modernity, preserving the essence of Indianness in dramatic literature has become a profound challenge. Nevertheless, he stressed that playwrights and theatre practitioners carry a moral responsibility to safeguard and promote Indian cultural values through their creative expressions.

He further highlighted that drawing inspiration from folk traditions, indigenous narratives, and Indian philosophical thought can significantly enrich dramatic writing, making it more vibrant, authentic, and impactful. Other speakers and participants echoed similar sentiments, agreeing that emerging playwrights must remain rooted in their cultural foundations to create meaningful and powerful theatrical works.

The seminar was skillfully anchored by noted compere Bharti Dang Ji, while analyst, social thinker, and young litterateur Mr. Varun Soni effectively moderated the discussions, ensuring a dynamic and insightful exchange of ideas. The formal vote of thanks was delivered by dancer Shruti Sinha.

The occasion witnessed the esteemed presence of several prominent personalities from the fields of art, literature, and theatre, including Odissi dancer Dr. Chandana Roul, sitar maestro Mr. Umashankar Ji, senior journalist Anita Chaudhary, Mrs. Renu Khantwal, theatre artist Bhupesh Joshi, Mr. Divakar Dubey, Mr. Praveen, and many other distinguished guests.

The successful execution of the seminar was greatly supported by the dedicated efforts of Garima Rani, Sneha Mukherjee, Ritambhara, Sakshi Singh, Priyanka Poudel, Deepika Thakur, and Swati Sharma, whose contributions were widely appreciated.

Concluding the event, participants collectively emphasized the importance of organizing such seminars regularly, noting that these intellectual and cultural exchanges provide renewed direction, inspiration, and momentum toward preserving and promoting India’s artistic and cultural consciousness.

On 16th April, at Muktadhara Auditorium, Gole Market, New Delhi, Drishyam Trust presented the poignant play “Astitva”, written and directed by Sampa Mandal. The production emerged as a deeply moving theatrical experience that explored the emotional and socio-economic struggles within a fragmented family structure.

Set against the backdrop of a Bengali household, Astitva unfolds the story of a family that, despite having several members, lacks a stable male figure to shoulder responsibility. At the center of this narrative is Shabbo, a resilient woman who becomes the sole pillar of the household. Through her journey, the play examines themes of sacrifice, gender roles, emotional neglect, and survival under pressure. Her children—Nirmala, Parvati, and Abhijeet—represent different shades of vulnerability and conflict, while the absence and indifference of the male members intensify the crisis within the family.

As the narrative progresses, Shabbo is seen working in others’ homes to sustain her family, often borrowing money and enduring humiliation. The play skillfully portrays how even in such dire circumstances, familial bonds weaken instead of strengthening. The climax is both tragic and thought-provoking, culminating in Shabbo’s ultimate act of despair, leaving the audience shaken yet introspective about societal apathy and the cost of silent endurance.

The performances were sincere and emotionally grounded. Shikha Arya, as Maa (Shabbo), delivered a compelling portrayal filled with depth and restraint. Harsh Sharma (Subhash), Mani Thareja (Nirmala), Astha Sharma (Parvati), and Gagan Chaudhary (Abhijeet) contributed effectively to the layered family dynamics. Sachin Kumar (Mama) added nuance to the unfolding tension. The ensemble of neighbors—Koyena Mondal, Kiran Sharma, Megha, Prashant Kumar, Muhammad Siraj, Laxmi Khang, and Shamshad Ali—brought a sense of realism and community presence to the stage. The child actor Daksh Sharma stood out with a natural and unaffected performance.

Behind the scenes, the technical team played a crucial role in enhancing the narrative impact. Aditya Mukul (props) ensured authenticity in the visual detailing, while Arun Mishra’s costume design reflected the socio-economic background of the characters effectively. The set designed by Sudeep Biswas remained minimal yet functional, allowing the performances to take center stage. The music, curated by Sampa Mandal, subtly heightened the emotional undertones without overpowering the scenes. Video support by Saif Ali Khan and poster design by Gagan Chaudhary complemented the production aesthetically. Shikha Arya, as Assistant Director, provided strong support in maintaining the coherence and rhythm of the performance.

At the conclusion of the play, the evening was further marked by a gesture of appreciation, as the artists were felicitated with certificates by senior theatre practitioners Shyam Kumar and Dr. Satya Prakash, acknowledging their dedication and contribution to the theatrical arts.

What makes Astitva stand out is its unflinching honesty. It does not rely on dramatic exaggeration but instead presents a stark, realistic portrayal of life’s hardships. The play raises important questions about familial responsibility, societal indifference, and the emotional toll of unacknowledged labor—especially that of women.

In conclusion, “Astitva” is not just a play but an experience that lingers. It compels the audience to reflect on the meaning of existence, dignity, and human connection. Drishyam Trust’s presentation, under the thoughtful direction of Sampa Mandal, succeeds in delivering a performance that is both artistically rich and socially relevant.

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.

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.

On March 25, 2026, at the Muktadhara Auditorium, Gol Market, New Delhi, an evocative cultural evening unfolded with the presentation of “Chitralekha” by the Anuragna Theatre Group. Based on the timeless novel by Bhagwati Charan Verma, the play was skillfully Adapted & Directed by Ashraf Ali, who brought a balanced, sensitive, and deeply engaging vision to the stage.

The performance stood out as a serious and intellectually stimulating theatrical experience, exploring the complex philosophical dilemma of sin and virtue. Through a simple yet powerful narrative style, the production kept the audience engrossed till the very end, encouraging reflection rather than offering easy answers.

The evening commenced with a traditional lamp-lighting ceremony, graced by eminent personalities including Senior Litterateur and Playwright Dr. Pratap Sehgal, Senior Litterateur and dramatist Dr. Harisuman Bisht, Senior Critic Anil Goyal, Playwright Rajesh Kumar, and Veteran Theatre Director Shyam Kumar. All the distinguished guests wholeheartedly appreciated the production, describing it as a powerful and contemplative work, and strongly recommended its restaging for wider audiences.

At the heart of the play were its three central characters—Chitralekha, Beejgupt, and Kumaragiri—through whom the philosophical depth of the narrative unfolded compellingly. Paribhasha Mishra, in the role of Chitralekha, delivered a nuanced performance, beautifully portraying grace, allure, and inner conflict. Her emotional depth and command over stage presence were particularly striking.

Rajesh Bakshi, as Beejgupt, delivered a standout performance marked by confidence, impactful dialogue delivery, and a commanding stage presence, making his character a strong focal point of the narrative. Meanwhile, Ankit Sati, portraying Kumaragiri, brought forth the essence of renunciation, introspection, and inner turmoil with remarkable restraint and seriousness, adding depth to the play’s philosophical dimension.

Supporting actors including Chirag Goyal (Shwetang), Akash Bhardwaj (Vishaldev), Khilkanand Bhatt (Ratnambar), and Vinay Kumar (Mrityunjay) contributed effectively, ensuring that the overall performance remained cohesive and engaging.

From a technical standpoint, the production was equally impressive. The lighting design by Divyang Srivastava played a crucial role in enhancing the emotional tone of each scene, while the music by Bharat Kumar deepened the overall atmosphere. The set design by Kamal Negi, along with costumes by Golu and Fahad Khan and makeup by Ravi Parcha, collectively created a vivid and immersive stage environment.

Overall, this staging of “Chitralekha” emerged as a meaningful and thought-driven theatrical experience. It reaffirmed that theatre is not merely a medium of entertainment, but a powerful platform for shaping thought and reflecting society. The Anuragna Theatre Group’s effort succeeds in leaving a lasting impression on its audience.

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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.)

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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.)

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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।

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

On 14 March 2026, a dignified and culturally significant ceremony held at Crowne Plaza, Mayur Vihar, New Delhi, marked a proud moment for Hindi theatre as veteran playwright Jaivardhan (J. P. Singh) was conferred with the prestigious “Sahitya Bhushan Samman.” Organized by BPA Foundation and India Netbooks, the event brought together eminent figures from the world of literature and theatre, lending it both gravitas and warmth. The honour was presented by noted writer Mamta Kalia and distinguished playwright Pratap Sehgal, making the occasion even more memorable.

This recognition stands as a fitting tribute to Jaivardhan’s long and impactful contribution to Hindi dramaturgy. Widely known in theatre circles as J. P. Singh, he has carved a niche for himself through decades of dedicated creative pursuit. His body of work, comprising 22 full-length plays and 6 children’s plays, reflects remarkable thematic diversity, ranging from social and historical narratives to deeply psychological explorations. His writing is distinguished by powerful dialogue, strong characterization, and an inherent sense of stagecraft that makes his plays both intellectually engaging and theatrically effective.

Among his notable works are Jhansi Ki Rani, Arjent Meeting, Gandhari, Babu Harishchandra, Kissa Maujpur Ka, Kalpurush, Yugpurush, Paro, and Nirjan Karavas. These plays have been widely performed across India and abroad, demonstrating their enduring relevance and appeal. His successful dramatic adaptation of Munshi Premchand’s classic novel Godaan further highlights his creative versatility and sensitivity toward literary heritage.

Jaivardhan’s contributions have been acknowledged by several prestigious institutions over the years. He has received honours from the Uttar Pradesh Sangeet Natak Akademi, Uttar Pradesh Hindi Sansthan (Lucknow), and various theatre organizations in Delhi. Notably, the World Hindi Secretariat, Mauritius awarded him first prize for his play Kalachakra, and the Bhartendu Natya Akademi, Lucknow conferred upon him an honorary title, underscoring his stature in the field.

Beyond writing, his involvement in the administrative and cultural spheres has also been substantial. His long tenure of approximately 31 years with the Sahitya Kala Parishad, Delhi, significantly contributed to the enrichment of the capital’s theatrical environment. Currently serving as an Associate Professor in the Film and Drama Department at Amity University, Noida, he continues to inspire and mentor a new generation of theatre practitioners.

Jaivardhan is not only a prolific playwright but also an accomplished director and actor, embodying a truly multifaceted theatrical personality. The conferment of the “Sahitya Bhushan Samman” is therefore not merely a recognition of his individual achievements, but also a celebration of the enduring tradition of Hindi theatre—one that continues to reflect society, history, and human sensibilities with depth and power.