Recently, Delhi’s theater organization Natsamrat presented a total of eight of its seven different plays. Where the audience appreciated all the plays very much. The special thing about Natsamrat’s plays is that this organization performs plays that touch the souls of the audience, giving heart-touching messages to the society through laughter or simplicity. These plays were staged in LTG Auditorium, Mandi House, New Delhi.

The play ‘Fauji’, written and directed by Sanjay Basliyal, was staged on 16 March at 3 pm and the play “Sakharam Binder”, written by Vijay Tendulkar and directed by Vishwajit Alexander, was staged at 4:15 pm on the same evening. The play “Kuch Tum Kaho Kuch Hum Kahan” written by Ashish Kotwal and directed by Shyam Kumar was staged on 17 March at 3 pm and the play “Kambakht Ishq” written by Satya Prakash and directed by Shyam Kumar was staged on the same evening at 4:15 pm. Went. The play “Comedy Junction”, written by Anton Chekhov and directed by Fareed Ahmed, was staged on March 23 at 3 pm and the play “Chandralok.com”, written by Harishankar Parsai and directed by Rakesh Kodinya, was staged at 4:15 pm. The comedy drama “Kallu Nayi MBBS”, written by Molière and directed by Shyam Kumar, was staged on 30 March at 6:30 pm and 7:45 pm (2 shows).

All the actors associated with the drama created a different place in the minds of all the viewers with the magic of their acting. One audience even said that our family always waits for your plays. Another viewer said that Natsamrat’s plays are such that every age member of the family feels happy. Natsamrat director Shyam Kumar said that we will continue to bring such plays in front of the audience and through our plays will continue to give messages to the society on deep topics through laughter.

Natsamrat Natya Utsav has started in Delhi Theater. Amidst the fast-paced life of the city, there must be some moments of happiness and to fulfill the same, the audience can come to Natsamrat Natya Utsav which is going on at LTG Auditorium, Mandi House, New Delhi.

The first play “Fauji”, written and directed by Sanjay Basliyal, was highly appreciated by the audience. The drama ‘Fauji’ is the story of an 80-year-old ex-serviceman (Diler Singh) from Uttarakhand, whose family has a legacy of serving the Indian Army. A news channel wants to cover their story and present it sensationally to increase their TRP ratings. Parallely, the news anchor who will cover the story (Kritika) and the cameraman (Kishore) were once in a relationship and have stopped working with each other since the breakup. They are now forced to work together on this story. As the play highlights the life of Diler Singh, a soldier who paid a great price to serve the country, it leaves a lasting impact on Kritika and Kishore’s relationship. Suresh Chandra played the role of editor, Sumita Sharma played the role of Pinky, Mantu had Prateek Rawat, Krutika, Roshan played the role of Kishore and Sanjay Basliyal, the writer and director of this play played the role of Diler Singh. P.K.Khayal conducted the lighting, Ashu conducted the music, Hardeep Singh and Mr. Om Sharma took charge of the backstage. All the actors played their roles beautifully and the audience also got engrossed in their phenomenal acting. It was staged on 16 March at 3:00 pm.

The second play of the evening was “Sakharam Binder” written by Vijay Tendulkar and directed by Vishwajeet Alexander. The play’s title alludes to Sakharam who is alone, devoid of familial ties, and whose profession as a book-binder enables him to stay away from the milieu of conservative society and live a quaint life on his own terms. Vishwajeet played the role of Sakharam, Ekta played the role of Lakshmi, Krutika played the role of Champa, Shammi played the role of Faujdar and Naveen played the role of Dawood. The acting of all the actors was impressive. Yash and Sachin were in music, Archana Kumari did the arrangement and Naina was in lighting operations. The play was staged on 16 March at 4:15 pm.

Two plays were staged on the second day of Natsamrat Natya Utsav. The first play was “Kuch Tum Kaho Kuch Hum Kahe” and the second play was “Kambakht Ishq”.

Kuch Tum Kaho Kuch Hum Kahein” exemplifies excellence from the pen of Ashish Kotwal and directed by Shyam Kumar, which premiered on 17th March at 3:00 PM. Dr. Anand, closing the doors of happiness, gives life Meets Mansi who wants to be adopted. Vivek Sharma and Munmun’s heart-touching banter immersed the audience in emotions. The lead actors of the drama, Vivek Sharma and Munmun, sometimes have sweet and sour banter and sometimes support each other. The performance of both of them left the audience emotional. The audience appreciated the play a lot.

In the play “Kambakht Ishq” written by Satya Prakash, it was shown that the elderly, being victims of loneliness, create a separate world within themselves and fall ill, even though they are not ill. Two elderly people, one Kishan and the other Radha, fall ill due to their loneliness. The director of the play, Shyam Kumar, has given a very beautiful message to the society that in old age, when children become busy in their life’s work, they find it difficult to find time for their parents. Then how bad the condition of those elderly people becomes.

In the drama, Sanjay Basliyal played the role of Kishan and Munmun played the role of Radha, Vivek Sharma played the role of the son and Savita Gupta played the role of the daughter, P.K. Khayal played the role of the doctor. Aman played the role of compounder. The stage managers were Sunil Rathore and Rohit Prasad Prasad, Sooraj and Lokesh were in stage props, Rajrani was in makeup, Payal was in costume, Raman Kumar and Mahendra Kumar took charge of the backstage, Aman and Vansh Rathore were in song management. Light Designed was conceptualized by Natsamrat director Shyam Kumar. This play was staged on March 17 at 4:15 pm. This Natya Utsav is still going on. On 23rd March, two plays are being staged by “Comedy Junction” and “Chandralok.Com”, and on 30th there is a comedy play Kallu Nai MBBS. The festival is being held in LTG Auditorium, Mandi House, New Delhi.

Natsamrat unfolded a captivating display of theatrical brilliance, showcasing four remarkable plays. Commencing with “Kuch Tum Kaho Kuch Hum Kahen,” written by Ashish Kotwal and directed by Shyam Kumar took stage on 20th January at 6:30 pm & 7:45 pm. The narrative delves into the collision of two disparate worlds. Dr. Anand, shutting doors to happiness, encounters Mansi, aspiring to embrace life. Vivek Sharma and Munmun’s poignant exchange left the audience immersed in emotions.

Following this, “Sakharam Binder” by Vijay Tendulkar, directed by Vishwajeet Alexander, took center stage on January 21 at 3 pm & 4:15 pm.. Vishwajeet portrayed Sakharam alongside Shruti, Krutika, Nasir, and Naveen, delivering an impressive performance. The timeless narrative, dating back to 1972, resonated, with Akash handling music and lighting, Archana overseeing aesthetics, and Sangeeta managing props.

The comedic gem, “Kambakht Ishq,” written by Satya Prakash and directed by Shyam Kumar, unfolded on January 26 at 6:30 pm & 7:45 pm. Offering a humorous take on the loneliness in old age, Vishwajeet, Munmun, Sanjay Basliyal, and Savita Gupta, among others, left the audience oscillating between laughter and tears. A meticulous production, featuring Sunil Rathore and Rohit Prasad as stage managers, showcased the multifaceted talents of the Natsamrat team.

Closing the theatrical extravaganza was “Chandralok.com,” an adaptation of Harishankar Parsai’s story, directed by Rakesh Kodinya on 28th January at 3 pm & 4:15 pm. The ensemble cast, including Munmun, Vivek Sharma, Sanjay Basliyal, Sudhir Khanna, Jagbir Choudhary, and Aman, not only evoked laughter but also conveyed a profound message through their performance. With music conducted by Shivangi and lighting envisioned by Shyam Kumar, this play added a delightful conclusion to the series.

These four enthralling plays graced The Blank Canvas (LTG Auditorium), Copernicus Marg, Mandi House, New Delhi, leaving an indelible mark on the audience.

Felicity Theatre’s unprecedented presentation of the play “Humare Ram”. Today the whole of India is rejoicing over the construction of Ram temple in Ayodhya, at the same time Rahul Bhuchar brought the play ” Humare Ram” to the audience. It is written by Rahul Bhuchar and Naresh Kavayan and directed by Gaurav Bhardwaj. Very beautiful music was used in the play. The songs were written by Alok Srivastava and Ramkumar Singh and composed by Udbhav Ojha and Saurabh Mehta. Well-known Bollywood singer Shankar Mahadevan, Sonu Nigam, Kailash Kher and Ashutosh Rana gave voice to the songs.

This play is an epic in a way whose words have been beautifully woven into a garland. Felicity Theater director Rahul Bhuchar played the role of Shri Ram and well-known Bollywood actor Ashutosh Rana played the role of Ravana while Harleen Kaur Rekhi played the role of Mata Sita. Danish Akhtar was seen as Lord Hanuman, Tarun Khanna as Lord Shiva and Karan Sharma as Surya Dev.

While the audience got engrossed in devotion due to Ram’s dialogue, the audience applauded a lot after seeing the style of Ravana (Ashutosh Rana). While Kailash Kher’s voice created magic in the drama, Ashutosh Rana’s voice also created magic. The audience became engrossed in devotion with the voice of Sonu Nigam.

The special thing about ” Humare Ram” is that this drama exposed many hidden incidents of Ramayana which may not be known to many people. The story started from Luv and Kush’s perspective. All the scenes were shown very beautifully and the entire Ramayana was depicted in three hours. Be it the arrival of Sun God on the stage or the entry of Hanuman on the stage. Shurpanakha got a lot of applause for her acting. The light design was amazing with LEDs. The children played the role of monkeys who are very adept dancers and made their entry with a beautiful and energetic dance. Rahul Bhuchar had laid the foundation of this play two years ago, which came true today and this play got a lot of love from the audience.

The play “Hamare Ram” was staged at Kamani Auditorium, New Delhi from 25 to 28 January.

Natsamrat staged four different plays at Creative Adda Auditorium, Versova, Andheri (W), Mumbai where the plays were greatly appreciated by the audience.

The first play, “Kuch Tum Kaho Kuch Hum Kahein,” written by Ashish Kotwal, was performed on January 6th at 7:00 PM at the Creative Adda Auditorium, Versova, Andheri West, Mumbai. The play revolves around two individuals, an elderly doctor, Dr. Anand, who has created a small world for himself through his profession, and a lively woman named Manasi, who enjoys life in her unique way. Despite their different perspectives on life, Dr. Anand has closed the doors to happiness, while Manasi, having endured her sorrows, strives to move forward and embrace life. The main actors, Vivek Sharma and Munmun, displayed a captivating chemistry on stage, alternating between witty banter and providing support to each other. The behind-the-scenes team, including director Shyam Kumar, lyrics by Rakesh Kodinya, Singer Ishan Tyagi, stage manager Sunil Rathore, stage properties by Suraj Singh, make-up by Payal Rani, costume by Chhobi Saha, Sound operated by Aman and other back stage team, contributed to the success of the play.

On January 6th at 8:15 PM, the second play, “Besahara Aurat,” written by Anton Chekhov and directed by Fareed Ahmed. The story, featuring Munmun in the lead role and Vivek Sharma as the bank manager, Assistant played by Jagbir Choudhary and Helper by Aman was filled with laughter and poignant moments. Stage Management by Vishwajeet, stage property by Lokesh, make-up by Raj Rani, Light Design by Natsamrat’s director Shyam Kumar. The play showcased the sweet and sour exchanges between the main characters, leaving a lasting impression on the audience. Shyam Kumar, the director of Natsamrat, brought this beautiful play to the Mumbai audience.

As part of the “Fourth Mumbai Theatre Festival” by Natsamrat on January 9th, two plays were staged. The first play, based on Harishankar Parsai’s story titled “Nithalla,” adapted by Kuldeep Kunal & Directed by Nagender Kumar Sharma, was presented as a solo performance by own Nagender Kr. Sharma, receiving much appreciation from the audience. The story revolves around an idealistic person, Nithalla, who dedicates his life to selfless deeds, challenging the societal trend that recognizes only those who work for their own gain.

The second play, “Veer Savarkar,” written, enacted, and directed by Nagendra Kumar Sharma, depicted the journey of Savarkar in the struggle for independence. The emotional portrayal of Savarkar’s sacrifices left the audience moved. Both plays were presented with the support of Haryana Kala Parishad.

In conclusion, the “Fourth Mumbai Theatre Festival” organized by Natsamrat showcased a variety of plays, each leaving a distinct impact on the audience. The meticulous direction, powerful performances, and thoughtful themes made the festival a memorable experience for the Mumbai audience. Shyam Kumar, the director of Natsamrat, and the entire team received well-deserved appreciation for their efforts in bringing quality theatre to the city.

The husband-wife relationship is considered to be the most sacred in the world. Love and trust bind both, but many times husband and wife quarrel by finding shortcomings in each other and a third takes advantage of it. Something similar was seen in Anuragna Theatre Group’s presentation “Couples Shuffle“, written and directed by Ashraf Ali. The play was performed on December 24 at Black Canvas, L.T.G. Auditorium, Mandi House, New Delhi-01.

Sharma ji (Chirag) house where he lives with his wife (Shruti Aastha) Chawla. There is always a tussle between the two over small things. Meanwhile, their neighbor Dubey (Bilal Khan) enters, who tries to take advantage of the conflict between those husband and wife and put a string on Shruti. Meanwhile, Maya (Manisha Sharma) enters. Sharma ji is very impressed by seeing Maya and tries to increase friendship. This dilemma goes on for a long time and finally it is revealed that Dubey and Maya are husband and wife, and they came to Sharma ji’s house to investigate them in search of the Best Couple Award in which both of them failed.

Amidst laughter, this play also gives a message to the audience that ‘husband and wife should never leave each other in any situation and should maintain trust in each other’. Chirag played his character well in the role of Sharma, as well as his wife Shruti’s character had many shades, which she succeeded in keeping in front of the audience. In the role of Dubey, Bilal Khan kept the entire drama tied with his acting and put many laughs in it, as well as the performance of Manisha Sharma in the role of Maya was also praise worthy.

Behind the stage were Goldie in the music, lighting was done by Manik Sharma, Kamal Negi was in the costumes and Ankit was in the stage material as well as Shamsher Khan and Avinash Tiwari in the set.

The unique event of “Fifth Tafarih” festival organized by Sili Sales Foundation provides us with a beautiful opportunity to connect with literature, art and cultural literacy. Under this festival, eminent persons from various fields have given us an opportunity to have an in-depth discussion on literary and artistic topics by sharing their experiences and perspectives.

The fifth edition began with the lighting a lamp by Senior Theatre Personalies K.K.Kohli, Diwan Singh Bajeli, Shyam Kumar, Pratap Sharma Somvanshi and Sili Sales Foundation’s director Priyanka Sharma. It began with a discussion on ‘Growing distance between novels and stage’, in which senior theatre persons, journalists, and writers shared their vision. It is a platform where an atmosphere of deep discussion on literary and artistic topics has been created. The guests were Diwan Singh Bajeli, Pratap Sharma Somvanshi, Aditi Maheshwari and Rama Yadav. In the discussion, Rama Yadav said, “Today the novel is getting distant from the stage, for which we have to take important steps. We have to inspire the youth to read books and novels. Maybe this will make today’s youth aware.”

Television actress Reena Agarwal and cinematographer Naresh Sharma shared their views on the impact and challenges of social media. The stage was moderated by Priyanka Sharma, Director, Silly Sales Foundation. Natsamrat director Shyam Kumar and senior theatre personality Himanshu B Joshi also shared their experiences.

The play “Stree Subohdhini” brought the festival to life in an entertaining and cultural form. The solo presentation ‘Stree Subodhini’ written by Mannu Bhandari and was directed by late Tripurari Sharma.  Munmun Singh was the winner of sangeet natak akademi award captivated the hearts of all the audience with his acting.   .

The last highlight of the first day of the festival was ‘Mehfile Sukhand’, which tied a different parallel and was directed by Shamir Khan. The fifth Tafarih Festival is being held from 2:00 pm to 9:30 pm on November 18th at 29/1 Civil Lines, Delhi, where there will be a confluence of art and culture. 

In the same way, an atmosphere of partnership has been created in the world of experience, art, and literature associated with various aspects of the festival. This is a time when together we can fill our cultural heritage with richness by connecting with literature and art.

“Tafreeh” is a unique celebration of the world of art and theater in Delhi organized by Silly Souls Foundation. It is the first garden arts festival known for plays, readings, mushairas, interviews, and musical performances. Its fifth edition is taking place from 16th November to 18th November at Silly Souls Studio, 29/1 Civil Lines, Delhi.

This year’s event is dedicated to the memory of Tripurari Sharma and will run from 2 pm to 9:30 pm every day. The main attraction this time is the plays performed every evening, including the comedy play “Stree Subodhini” on the first evening. Apart from this, this time “Mushaira” is also going to be held for the first time in “Tafreeh”.

The festival will have daily conversations with renowned personalities from the field of theater and art, including Silly Souls directors Priyanka Sharma and Naveen Choudhary. The first day’s discussion is “The Growing Distance between Novel and Stage”, which will feature Devendra Raj Ankur, Diwan Singh Bajeli, Pratap Sharma Somvanshi, Aditi Maheshwari and Rama Yadav. The guests on the first day of Pratyaksha will be Reena Aggarwal and Naresh Sharma.

The Mushaira to be held on the second day will include Farhat Ehsaas, Tarkash Pradeep, Vikas Sharma Raaz, Irshad Khan Sikandar and Pallav Mishra. Professor and motivational speaker Vijendra Tafrih will be the guest of Pratyaksha. On the second day of the festival, you will experience a special and unique musical performance in the form of “Wife’s Letter”. After the open mic on the last day, our direct guests will be Hema Singh and Kushal Dubey.

The evenings of ‘Tafreeh’ are famous for their musical performances. Presentation by Subhradeep Sahu and musical rendition of poetry by Sahir Ludhianvi, Faiz Ahmed Faiz, and Kaifi Azmi by Raabta Group are the attractions of this time. Watching the “Tafreeh” festival will be a unique and enjoyable experience. At Tafreeh Utsav, you will not only immerse yourself in the roots of theater but also enjoy sharing the wonderful art and literature of Delhi.

The Concept:

Ramayana has been told and retold over centuries but the difference lies in the way it is reiterated. Not with the perception of recounting a tale but with an intent to reinvent it to unleash the hidden secrets of this unbound narrative we attempt to retell again and again taking the artistic liberty that it affords timelessly to revisit it with an innovative perspective. The project is an enterprise to endorse the epic as a narrative that is much ahead of its times in its intrinsic potential to dislodge our linear interpretations of this colossal tale as a religious account of Hinduism. The endeavour is to re-evaluate the learn by rote method through which we have perpetually studied this epic; any change in the script is a larger than life or a utopian idea. In a country like India where the myth goes beyond the circumference of the story and becomes a ‘sacred tale,’ to conceive certain alterations in the script is a indeed a formidable venture. Yet, this redoubtable interpretation on our part has been an outcome of our humble initiative of making the narrative appear different and hence more thought- provoking as it raises questions on the fundamental aspects of human existence without tampering with the organic theme in a unique way. The Ramayana is fractured, fixed and foretold for an audience of today that’s intelligent enough to accept variations in established Literature if it offers food for thought. This differently abled understanding of the epic cognitively sheds light on the of presence of the elements that demystifies the glory of this mythological narrative making it a poignant tale of a King’s sacrifice, struggle and his confrontation with the ultimate evil that is insurmountably challenging. Accompanying him is the divine feminine- the motherly prakriti, his consort whose worthiness being questioned every moment despite her inevitability in life is a tragic disclosure. When Nature is so serene and comforting, why do we exploit her? Is the question that resounds in every chant of the story teller who happens to have taken the onus of narrating the epic his own way without letting the cliche notions of propriety affect him. It is the kathavachna tradition that comes to the fore in the process wherein the kathavachak tries his level best to arrest the attention of the spectators who have gathered around him to witness his ability of telling a tale fascinatingly.

The alterations made in the tale are the result of an adaptation of the epic on which it is based. Nonetheless, the fact remains that these changes are made to inspire a generation of listeners to re-read the epic with an open mind without being influenced by the halo of divinity that revolves around it. This performance is towards giving Ramayana a form and shape that traverses the boundaries of conventions, religions and even Nations becomes a tale of global reality that surrounds human existence today. Our utilitarian approach towards nature, her exploutation under the garb of progress and development are universally undeniable truths that prevail in this tale of a magnanimous King who readily sacrificed everything in his life. His tales of heroism that prevail in our memory must not be confined to the deeds of valour but beneath there lies a purpose – to make the realization that the victory of good over evil comes with a price to pay. Divine Prakriti is insulted, hurt when the divine masculine shows his worthiness ascertains his valour and she ultimately chooses a silent retreat into the oblivion. Ramayana is indeed fractured at this juncture but the fact remains that it has to be fixed and again told for the generations to come and the Kathakar takes up this responsibility. Everything we see is an illusion, it is just a dramatization of a popular tale but it aims at restructuring and reframing our often erroneous understanding of the tale as synonym of dictation of certain principles. It is therefore that often every time the tale adopts a new form and incidents do not coincide with the actual epic. Shoorpanakha becomes Mareecha and Sita Swayamvar takes place after the exile of Rama and Laxmana in the forest; only to make us comprehend that the kathakaar’s choice to tell a tale remains uninterfered which opens up newer possibilities of engendering a CREATIVE PIECE- retold with a purpose: to enlighten. This is Ramayana – Fractured, fixed and foretold.

The Performative aspect:

The finer aspects of the kathakar’s( Janardan Ghosh’s) stage presence are intrinsically interwoven in the tale so inseparably that his gait, the gestures, the postures the expressions all depict a conceptual assertion of the Ramayana. The fluidity of the narration is indelible and the intonation is deliberately controlled to suit the parameters of excellent dialogue delivery which ought to have a thunderous proclamation of the epic coupled with a subtle yet effective volume that’s verbose and yet aptly restrained. There is a performative glory inseparably blended with the musical beats of a folk rendition that invites the onlookers to participate in the performance. The Kathakar’s splendid stage presence with his enormous voice modulations make the characters live in stage; needless to say- male or female. There’s a quaint androgyny that Janardan Ghosh establishes on stage with his one man army – himself who appears as a reservoir of actors essaying different roles evocative of the Bahurupi artists that are used to playing diverse roles and yet one at a time. Slow and steady wins the race is the strategem that the Kathakaar deliberately adopts when he narrates simultaneously playing varied roles- Rama, Sita, Shurpanakha and above all the colossal Ravana. The entry of Ghosh defines folk narration that’s charming endearing and at the same time prudent in its discretion of becoming stern when the narration becomes the somber from the recreational. It is a folk teller whose telling of the tale exploiting all the assets of performative aspect become more than conspicuous. He cries and groans and shouts and screams and laughs and proclaims and sits and stands and jumps and circumambulates the stage as if capturing it from all its directions. Yet he releases the stage equally well and comes back to himself as he knows the tale will speak for itself. The brilliance of a learned actor becomes visible in Ghosh’s choice to be Indian in his compassionate and anxious mannerisms of flourishing a folk tale of his nation and yet intellugebtly global in his approach towards narrating it objectively putting up a universal concern: Eco feminism. A subject matter of relevance for all across ages, Sita… a woman of education he so confidently he says and ends it so poignantly saying and in the end she immersed herself in the earth. And we automatically question ” Why? Why do we hurt her – the one who nurtures us so fondly? The divine feminine. Ghosh brings the ties together: Of Sita’s separation from Rana and of her being deserted in the end: Both are aligned. Whether she got accidently separated from him when Ravana abducted her or when he sent her away, in both cases, she is the sufferer. The performative narration impresses upon re-reading the epic independent of the notions of divinity attached to it.

Dr. Payal Trivedi

For comments( if any) please use the comment box given below.

In the middle of LINTON road, a rickshaw comes and stops in front of the woman. She intends to hire it for going to a destination. The rickshaw driver looks at her and assents to take her to the desired stop.

Sc –I

Woman – Will you drop me at this address?

Driver- Yes madam. Please sit.

Woman- Be quick. I don’t have time.

Driver- yes madam..

Woman- Thank you.

Driver- No thanks. I am there to take people to their desired stops. But…

Woman- But? Are you worried about your fare? Do not worry. I will give you cash.

Driver- No. I am not worried about money. I am thinking that YOU are going to give my your life.

Woman: What?

Driver- No madam. Nothing. I just said nothing at all. Don’t worry. Come, it’s going to be night soon and this road becomes quite isolated. It is not safe to be here for a long time.

Sc II

(The rickshaw starts with a jerk. The woman gets a strong jolt)

Woman- Oh! Driver what’s this? Be careful.

Driver- At times, it isn’t in our hands madam.

Woman-But it is in our YOUR hands only!

Driver- No. I have to take many abrupt decisions while driving. This was one of them. I did not intend to put sudden jerk otherwise. The road’s quite open to receiving jerks when we start off.

Woman- Whatever. Let’s go.

Driver (speaks softly)- Go. This word has the implication of going and when I am going, I have to be on the go and when I am on the go, none disturbs me. Get Set Go!

Woman- What are you muttering?

Driver- Nothing madam. Yes, you said go. But…

Woman- But what?

Driver- We cannot GO.

Woman- What! Just a moment ago you said you are ready to go and now you are denying.

Driver- I am ready to go madam. But not ready to go now.

Woman- What? What are you talking?

Driver- Just wait madam, wait for some time. We need to. Or else, it might get too late.

Woman- What nonsense is this? You said we must start off quickly as it might get isolated here soon and now you are telling me to tarry?

Driver- Life is unexpected madam. The clutch wire just broke when I gave the jerk.

Woman- Oh! Now it would be needless delay. Never mind. I will hire another rick.

Driver- Not possible madam. It is not going to be easy for you to get another vehicle here.

(She stands there and tries to call other rickshaws. None of them stops. Comes back to the same rickshaw driver. Stands there.)

Woman- Ok. I am waiting here. Be quick.

Driver- Am trying my best. At times things are not in our hands madam.

Woman- But the wire is in your hands.

Driver- But its intention to get repaired or not does not lie in my hands madam.

(After almost an hour’s time, he is able to repair the clutch wire)

Woman- Now let’s go. Enough of waiting here.

Driver- Yes madam. Sit inside the auto.

(As she moves towards the auto, her foot twists unexpectedly while walking and she cries in pain.)

Woman- Oh God! I did not notice this stone in the middle. My foot got twisted! I am feeling awful. I never did think anything of this sort would happen. Thought I would hire and auto and reach home quickly.

Driver- At times, life shows us what we do not expect madam. Do not worry. I will support you and help you to get in the auto. Come, lean on my shoulder.

(He supports her)

Woman- ok. Now finally should we set off!

Driver- Yes madam.

(He starts the auto and takes it off. The woman sits quietly in the seat at the back. He keeps driving.)

Woman –(calls her friend) I will reach in no time. Actually, I can explain ( suddenly, there’s a speed breaker and the rickshaw crosses it very quickly. Once again, she gets a heavy jerk.)

Woman- Drive slowly. Will you. Can’t you see the speed breaker?

Driver- Madam. At times we are forced to drive quickly. You said you need to reach fast. I thought…

Woman- So that does not mean you drive haphazardly. Drive carefully.

Driver- Ok madam.

(Suddenly stops the auto)

Woman- What? Why have you stopped?

Driver- Madam. It is dinner time for me. I need to eat my food. You need to wait.

Woman- What?

Driver- yes.

Woman- But you drop me first then have your dinner. What are you up to?

Driver- Up to nothing madam. I am telling you one simple thing. I cannot drive ahead without my food. I need to finish my dinner. Wait in the auto. I will come in no time.

(She waits reluctantly and knows well that no rickshaw was available in that area. He comes after almost forty five mins)

Woman- Now should we go?

Driver- If you ask me madam, it means you are taking my permit. I am nobody to decide.

Woman- But you are the DRIVER. Driving me is in your hands.

Driver- No madam. Driving both of us is in someone else’s hands.

Woman- What absurdity is this? You drive take me to my destination.

Driver- You think you have a destination. (Laughs.) Everybody thinks so. But none has any.

Sc III

(She looks at him almost frantically.)

Woman- Why are you talking wierd?

Driver- Nobody makes any sense in the world madam. Especially lower class people like us, we often become senseless in front of everyone.

Woman- See right now it is not the time to check whether you are sensible or senseless. Now is the time to drive safely and help me reach my destination. I am wanting eagerly to reach at a place.

Driver- That’s what I am doing madam. Helping you reach your destination.

Woman-With the kind of slow speed that you are driving, I do not think we will reach there ever.

(stops the auto. The woman looks at him irritatingly.)

Woman- Why did you stop the auto?

Driver- I need to get the CNG filled.

Woman- Listen, do it afterwards. I do not want to be late.

Driver- Madam. There is no fuel left.

Woman- What? Why didn’t you tell me earlier. I would not have hired your auto.

Driver- Madam, it will take 5 mins.

Woman- Ok.

(Gets the fuel tank filled. The woman waits.)

Woman- Now can we get set go?

Driver- Madam, wait. I need to get the change to give them money.

Woman- Wait, here I am giving you change. Take it. Give it to them. Let’s leave.

Driver- Ok madam.

(He makes the payment at the petrol pump. They start off and come at crossroad)

Driver- Madam. Two roads diverge. Which one to take?

Woman- The left one. Wait, perhaps, I would have to check on my phone. Ok , here it is the right one. That’s the direction it shows.

Driver- But madam, this road is very long. It will take time.

Woman- My mobile does not lie. It is the most convenient road it shows.

Driver- So I should take this one right?

Woman- Of course.

Driver- So be it.

(He turns right. The road continues and has many lanes. After some time the woman gets annoyed.)

Woman- What is this? Lanes after lanes?

Driver- Madam, I told you this road is long but you did not listen to me.

Woman- Now what to do?

Driver- Let’s go back.

Woman- Ok.

(He takes a reverse turn, in just a few mins, they come to a specific point where there is traffic jam)

Woman- O my God! We did not have it while we took this road, now where did this come from?

Driver- It is a procession that has just started madam.

Woman- We are stuck!

Driver- We are often stuck in the middle of roads madam.

(After almost an hour’s wait, the traffic heals. They move ahead.)

Woman- I wanted to reach there two hour before. Little did I know I would get so late!

Driver- We often do not know the future madam. But better late than never.

Woman- What do you mean?

Driver- Meaning, we would reach there some time, some day.

Woman- What? What are you talking?

Driver- Nothing madam. The fact of life. The crux of living this life is an eternal journey that never ends. Right?

Woman- Don’t be philosophical. I do not have time.

Driver- None has time. Time has everyone.

(Puts a sudden break. Stage goes dark. The next moment we see bright light on the stage and many people having gathered there.)

Person I – Oh sad, very sad the accident.

Person II- The autowala is dead.

Person III- The passenger?

Person I- Nowhere to be found.

Person II- Let us inform the police.

(They call the ambulance and the police who come and do the needful in the case.)

The next day, a woman stands in the middle of the LINTON road. She stops an auto, hires him.

Woman – Will you drop me at this address?

Driver- Yes madam. Please sit.

Woman- Be quick. I don’t have time.

Driver- yes madam.

Woman- Thank you.

Driver- No thanks. I am there to take people to their desired stops. But…

Woman- But? Are you worried about your fare? Do not worry. I will give you cash.

Driver- No. I am not worried about money. I am thinking that YOU are going to give me your life.

Woman: What?

(Next day in the newspaper. Linton road seems to be haunted. A driver with an auto is seen moving around and a lady comes and boards it. They both act as passenger and auto driver. After a while, people hear a loud shriek, an auto driver in the same locality is found dead.)

Lights off stage darkens. After a while there is light all around.

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