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.

On 7 March, the fifth play of the third day of the 23rd Natsamrat Natya Utsav was staged at LTG Auditorium, Mandi House, New Delhi. The play “Laajo”, directed by Chander Shekhar Sharma, offered a poignant theatrical exploration of the trauma of the India–Pakistan Partition and the complex questions surrounding women’s dignity and social acceptance. The entire festival is dedicated to the eminent theatre personality Daya Prakash Sinha.

The play is based on the celebrated short story Lajwanti by renowned writer Rajendra Singh Bedi. Set against the turbulent backdrop of the Partition, the narrative reflects on the violence, displacement, and social upheaval that affected countless lives, particularly women who became victims of abduction and exploitation during that time.

At the heart of the story is Laajo, who is abducted during the riots and taken across the border to Pakistan. Her husband Sunder Lal, left behind and haunted by the memory of his missing wife, begins a social campaign encouraging society to accept abducted women with dignity when they return. He travels among people, urging them to recognise that these women are victims of circumstances and deserve respect rather than stigma.

The emotional conflict intensifies when Laajo finally returns home. Initially fearful and hesitant, she finds joy in being reunited with her husband. She wishes to share the painful experiences of her separation, hoping for understanding and compassion. However, Sunder Lal, who publicly advocates for the acceptance of such women, finds himself unable to confront the reality of her suffering. Instead of reacting as he once did, he begins to treat her almost like a goddess—placing her on a pedestal rather than truly listening to her story. This subtle yet powerful moment exposes the deep irony of societal attitudes: while women may be symbolically revered, their truth and trauma often remain unheard.

The performances added depth and authenticity to the narrative. Sarita Sharma, portraying Laajo, delivered a sensitive and emotionally layered performance, effectively expressing the vulnerability and resilience of her character. Chander Shekhar Sharma, as Sunder Lal, convincingly depicted the internal conflict of a man torn between social ideals and personal discomfort. Ravinder Singh, in the role of Jamal, contributed with a natural and grounded presence on stage.

Behind the scenes, the technical team played a crucial role in shaping the atmosphere of the production. Nikhil Jha’s music complemented the emotional tone of the play, while Jatin’s lighting design enhanced the dramatic intensity of key moments. The costumes designed by Mamta Rani, makeup by Manoj, and the production support by Ashish Sharma and Mala Negi helped create a cohesive and effective stage presentation.

Overall, “Laajo” emerged as a thoughtful and moving theatrical experience. Through its sensitive storytelling and compelling performances, the play not only revisits the painful memories of Partition but also raises profound questions about gender, dignity, and society’s willingness to confront uncomfortable truths. It stood out as one of the notable presentations of the festival.

On March 4, at the LTG Auditorium, Mandi House, New Delhi, the fourth play of the second day of the 23rd Natsamrat Natya Utsav dedicated to eminent theatre personality Daya Prakash Sinha, was stage — Kallu Nai M.B.B.S., based on a work by the renowned French playwright Molière and directed by Shyam Kumar. The play was presented twice during the festival day and received an enthusiastic response from the audience for its lively humor and satirical tone.

The play revolves around the story of a drunken barber who often mistreats his wife. Determined to put an end to his behavior, the wife decides to teach him a lesson. At the same time, two servants arrive in search of a doctor who can cure their master’s mute daughter. The barber’s wife cleverly convinces them that her husband is an accomplished doctor, but with an unusual condition — he only agrees to become a doctor after being beaten.

What follows is a chain of comic situations and misunderstandings that create a humorous yet insightful theatrical experience. Through its witty narrative and exaggerated situations, the play also hints at the absurdities and contradictions present in social behavior, making the satire both entertaining and thought-provoking.

The performances were energetic and engaging. Munmun, Rajan K. Batheja, Shivangi, Akshay, Vansh Rathore, and Shammi delivered compelling portrayals, bringing their characters to life with strong stage presence and effective comic timing. Their expressive performances and lively interactions kept the audience engaged throughout the production.

The backstage team also played an important role in the successful presentation of the play. Sunil Rathore, Suraj Singh, Amit, Nisha, Payal, Poonam, and Rohit Prasad contributed significantly behind the scenes. Vansh Rathore, who also handled music and lighting, added depth to the overall theatrical atmosphere.

Overall, both performances of Kallu Nai M.B.B.S. stood out as an engaging presentation in the festival, offering an enjoyable blend of humor, satire, and dynamic stage performances that resonated well with the audience.

New Delhi, 4 March — On the second day of the 23rd Natsamrat Natya Utsav dedicated to eminent theatre personality Daya Prakash Sinha, held at LTG Auditorium, Mandi House, audiences were treated to two lively performances of the famous one-act play “The Proposal” by the celebrated Russian playwright Anton Chekhov. The play was directed by Shyam Kumar.

The play revolves around a young man who visits his neighbor’s house to propose marriage to their daughter. However, what begins as a sincere matrimonial proposal soon turns into a series of comical arguments. Instead of discussing love and marriage, the characters become entangled in heated disputes over trivial matters such as the ownership of a piece of land and the superiority of their respective pet dogs. Chekhov’s sharp wit and keen observation of human behavior transform these petty disagreements into an engaging and humorous dramatic conflict.

One of the most striking aspects of the production was its excellent comic timing and fast-paced dialogue delivery, which kept the audience thoroughly entertained throughout the performance. The actors brought remarkable energy and authenticity to their roles, making Chekhov’s text come alive on stage.

The cast featured Munmun, Rajan K. Batheja, Naveen Kumar and Shivangi, who impressed the audience with their expressive performances and lively stage presence.

Behind the scenes, the technical team played an important role in shaping the production. Sunil Rathor, Suraj Singh, Amit, Nisha, Payal, Poonam, and Rohit Prasad contributed significantly to the smooth execution of the performance. Vansh Rathore handled the music and lighting, enhancing the overall theatrical atmosphere.

Overall, The Proposal proved to be an engaging and entertaining presentation. With its sharp humor, lively performances, and crisp direction, the play offered audiences a memorable theatrical experience.

As part of the second phase of the Natsamrat Natya Utsav (23rd edition), the Hindi comedy play Chuhedani was staged on 28 February at LTG Auditorium. Inspired by Murray Schisgal’s celebrated play The Typist, the production was adapted and directed by Ishwar Shunya. With a minimal cast and a restrained stage design, the performance stood out for its sharp writing and emotionally grounded execution.

The narrative centers on two clerks working in a modest office environment. Years of stagnant employment, limited salaries, job insecurity, and increasing personal responsibilities define their daily existence. Economic pressure and social expectations confine them within a repetitive routine, leaving little room for aspiration. The title Chuhedani — serves as a compelling metaphor for the socio-economic structure that ensnares individuals in cycles of monotony and compromise.

Ishwar Shunya’s script skillfully blends satire with realism. The dialogues are crisp, humorous, and accessible, yet beneath the comic surface lies a subtle critique of middle-class anxieties. The direction maintains a steady pace, using silence and pauses effectively to heighten emotional impact. The sparse set — comprising a desk, chairs, files, and a printer — reinforces the monotony of clerical life while symbolizing the passage of time and the characters’ emotional stagnation.

On stage, Abhishek Maurya and Kamal Bisht delivered compelling performances marked by strong chemistry and precise timing. Abhishek Maurya portrayed the inner conflict of a man balancing frustration with hope, while Kamal Bisht brought vitality and wit to his role, enriching the play’s comic rhythm. Their interaction sustained audience engagement and elevated the emotional depth of the narrative.

The backstage team — Ajay Yadav, Bharat Dubey, and Payal Sarkar — ensured technical finesse. The lighting subtly underscored mood transitions, and the sound design complemented the performance without overpowering it. The understated technical approach enhanced the intimacy of the storytelling.

The evening concluded with a felicitation ceremony. Director Ishwar Shunya was presented with a memento by senior writer Rajesh Singh and Natsamrat director Shyam Kumar. Senior theatre practitioner Arvind Gaur awarded certificates to the performers, acknowledging their contribution.

Overall, Chuhedani emerged as a thoughtful and engaging production that used humor to explore the layered realities of middle-class life, making it a noteworthy presentation at the 23rd Natsamrat Natya Utsav.

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

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

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

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

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

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

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

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

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

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

Kala Sankul: Vision and Cultural Commitment

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

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

Theme and Presentation

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

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

Music, Research, and Stagecraft

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

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

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

Post-Performance Review Discussion

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

Conclusion

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

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

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

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

Overall Assessment

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

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

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

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

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

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

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

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