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.)

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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.

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.

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.

On 7 March, at LTG Auditorium, the sixth play of the third day of the 23rd Natsamrat Natya Utsav, titled “Prem Parinde,” was staged. The festival is dedicated to the eminent theatre personality Late Sh. Daya Prakash Sinha. The play is written, conceived, and directed by Chandrashekhar Sharma.

“Prem Parinde” presents a contemporary love story of two young individuals, Rajan and Nisha, in a humorous and entertaining manner. Set against the backdrop of modern lifestyle influences such as films, social media, and the changing dynamics of relationships, the play explores how attraction and emotions often lead to amusing and unexpected situations. Through its comic narrative, the production reflects on the complexities of modern relationships while keeping the audience engaged with continuous moments of laughter.

The performances of Shipra Jain as Nisha and Nikhil Jha as Rajan stood out for their excellent comic timing and natural stage presence. Their chemistry on stage added charm to the narrative, and their dialogue delivery created several delightful moments that kept the audience thoroughly entertained.

The backstage team also contributed significantly to the overall presentation. Pushkar Sagar handled the music, Jatin designed the lights, and Mamata was responsible for the costumes. The production was managed by Amit Kumar and Raghuveer Pal, while Manoj took charge of makeup, all of which enhanced the visual and aesthetic appeal of the performance.

Overall, “Prem Parinde” emerged as an engaging comedy that cleverly portrays the humor and ironies of contemporary love, leaving the audience both amused and reflective.