New Delhi, September 5, 2025. The Sammukh Auditorium at the National School of Drama (NSD), New Delhi, witnessed a powerful confluence of literature and theatre with the staging of two acclaimed stories by Senior Poet–Novelist, Director of Vishwarang, and Chancellor of Rabindranath Tagore University, Sh. Santosh Choubey—*Unke Hisse Ka Prem* and Garibnawaz. The plays were directed by veteran theatre director Devendra Raj Ankur and presented by Sambhav Art Group, Delhi, under the aegis of Vanmali Srijan Peeth.

Sh. Santosh Choubey, celebrated for his profound and sensitive contribution to Hindi literature and theatre, has carved a niche through his exploration of human emotions and the complexities of contemporary society. His stories, marked by simplicity of language and depth of expression, continue to inspire both readers and performers.

In Unke Hisse Ka Prem, the fragmented relationships and emotional struggles of an institutional boss are revealed through the unique perspectives of inanimate objects—his desk, pen, chair, diary, and mirror. By transforming these objects into living witnesses, Shri Santosh Choubey’s pen captures the poignancy of solitude and the delicate nuances of human vulnerability.

Garibnawaz, on the other hand, starkly contrasts capitalist success with the resilience of the working class. The clash between Vishwamohan’s opulent BPO office—symbol of globalized affluence—and the modest yet spirited Garibnawaz Chicken Shop next door, becomes a metaphor for the strength of labor and grassroots survival. Here, Sh. Santosh Choubey incisively exposes the paradoxes of urban politics, unauthorized encroachments, and local power nexus.

The stage came alive through remarkable performances by Nidhi Mishra, Gauri Dewal, Rachita Verma, Amitabh Srivastava, Amit Saxena, Prakash Jha, Harikesh Maurya, and Sahaj Harjai. The evocative musical design by Rajesh Singh and Sahaj Harjai, complemented by the lighting design of Raghav Prakash Mishra, intensified the impact of the narratives. The evening was skillfully anchored by Vikrant Bhatt, Associate Director of Tagore Theatre School.

Adding a visual dimension, an exhibition based on the works and books of Shri Santosh Choubey was curated by Prashant Soni, Vikrant Bhatt, Upendra Patne, and Yogesh Kumar. The Sammukh Auditorium was packed with an enthusiastic audience, who responded with admiration for this rare blending of literature and performance.

Without relying on elaborate sets or theatrical gimmicks, the evening reaffirmed that the strength of theatre lies in the richness of writing and the precision of direction. The pen of Sh. Santosh Choubey and the direction of Devendra Raj Ankur together proved that great stories are as alive on stage as they are in the imagination of the reader.

The LTG Auditorium at Mandi House, New Delhi, reverberated this August with the vibrancy of theatre and the thunder of applause. Organized by Natsamrat, the Summer Theatre Festival offered audiences a kaleidoscope of performances that made them laugh, stirred their emotions, and provoked deep reflection. Each play was directed by the acclaimed Delhi-based theatre director Shyam Kumar, whose creative vision and disciplined stagecraft elevated every production into a memorable experience.

The festival commenced on 2nd August with Anton Chekhov’s celebrated one-act play The Proposal. What begins as a simple marriage proposal soon spirals into a heated quarrel over land and dogs, leaving audiences in peals of unexpected laughter. On the same day, the satirical Kallu Nai MBBS was staged—an incisive portrayal of rural ironies through the comic clashes of a drunken barber and his wife. Both plays were so well received that they were restaged on 10th August, once again drawing enthusiastic applause.

On 15th August, marking Independence Day, the same two plays returned to the stage. Amid laughter and wit, audiences were invited not only to reflect upon rural contradictions but also to rediscover the sharp brilliance of Chekhov’s pen.

The evening of 23rd August brought a unique blend of sensitivity and humor. Kuch Tum Kaho Kuch Hum Kahein by Ashish Kotwal presented an intense dialogue between a lonely elderly doctor and the free-spirited Mansi, unraveling layers of relationships, empathy, and self-realization that touched the hearts of spectators. Following this, R.B. Singh’s satirical gem Meri Biwi Ki Shaadi had the audience roaring with laughter, as a hypochondriac patient, obsessed with his own imaginary death, entangled himself in absurd worries about his wife’s future.

The 30th August evening immersed the audience in the layered world of Chekhov and the eternal theme of love. Chekhov Ka Sansar offered glimpses into the Russian master’s life philosophy and stories, while Satya Prakash’s Kambakht Ishq sensitively explored the loneliness of the elderly and their longing for true companionship—making the audience laugh as much as it moved them to tears.

The festival concluded on 31st August with two powerful performances. J.N. Kaushal’s Kya Karega Qazi kept audiences entertained with the hilarious failures and fumbling efforts of the clumsy barber Fakhruddin. This was followed by Bichchu, inspired by Molière’s classic, which humorously portrayed the tug-of-war between lovers and fathers, blending satire with sparkling wit.

Throughout the festival, performers such as Vishwajit, Munmun, Shivangi, Aman Kumar, Raman Kumar, Dhananjay, Ansh Rathore, Rajan K. Bhatheja, and Adyasha Mohanty brought each story alive through their powerful stage presence and spirited dialogue delivery. Balanced use of set design, lighting, and music added to the immersive experience, keeping the audience spellbound.

Equally significant was the contribution of the technical team, who worked tirelessly behind the scenes. Sunil Rathore, Suraj Singh Pawan, Nisha, Raj Rani, Payal Rani, Rohit Prasad, and Poonam managed costumes with precision, while Vansh Rathore created the musical atmosphere that enriched every performance.

More than a series of plays, the Summer Theatre Festival of NatSamrat Sanstha was a celebration of the diversity and power of Indian theatre. With humor, satire, and heartfelt storytelling, the festival not only entertained but also offered profound glimpses into the truths of life. For an entire month, LTG Auditorium pulsated with theatrical energy, leaving audiences with memories that will linger long beyond the final curtain call.

The Sahitya Akademi auditorium in Delhi recently hosted the grand launch of senior poet, storyteller, and Chancellor of Rabindranath Tagore University Santosh Choubey’s much-awaited short story collection “Gareebnawaz”. Jointly organized by Vanmali Srijan Peeth, Delhi, and Rajkamal Prakashan Group, the event drew the participation of many noted writers, critics, and literature enthusiasts. Prior to this collection, Choubey had already published six widely acclaimed volumes including Halkey Rang Ki Kameez, Restauran Mein Dopahar, Nau Binduon Ka Khel, Beech Prem Mein Gandhi, Magar Shakespeare Ko Yaad Rakhna, and Pratinidhi Kahaniyan. The new book was released in the presence of celebrated author Mamata Kalia and senior writer Janki Prasad Sharma, who presided over the ceremony. Choubey himself read the title story “Gareebnawaz” and shared insights into his creative journey, emphasizing that readability, innocence, and visual intensity remain central to his craft.

Mamata Kalia praised Choubey for his commitment to social realities, describing “Gareebnawaz” as a powerful portrayal of class conflict and human resilience. Presiding guest Janki Prasad Sharma remarked that Choubey’s greatest strength lies in his extraordinary readability, noting that his stories sweep readers along while raising urgent questions of contemporary life and weaving memory and critique into their very fabric. Noted critic Akhilesh highlighted the originality of Choubey’s storytelling, pointing out how his works resist conventional forms while engaging with the distortions of capital, technology, and power, ultimately defending the beauty of life. Senior critic Vinod Tiwari observed that the long stories in this collection will be remembered in the history of Hindi fiction, as they carry recurring motifs of love, compassion, humanity, and sensitivity while also transcending genres.

Writer Alpana Mishra admired the intimate pace of Choubey’s stories that culminate in profound realizations, while young author Ashutosh noted how Choubey begins and ends his stories with curiosity, keeping them firmly in narrative control and marked by a scientific and humanistic outlook. The event began with a welcome address by senior poet Leeladhar Mandloi, Chairman of Vanmali Srijan Peeth, and greetings from Jyoti Raghuvanshi. It was skillfully anchored by young writer Pranjal Dhar and Kunal Singh, with Ashok Maheshwari of Rajkamal Prakashan extending a heartfelt vote of thanks. With the presence of distinguished writers, critics, and literature lovers from across Delhi NCR, the launch of “Gareebnawaz” became not just a book release but a vibrant celebration of Santosh Choubey’s enduring contribution to contemporary Hindi literature.

वीर गोकुला

समीक्षा: अनिल गोयल

18 अगस्त 2025 को देव फौजदार ने दिल्ली के एल.टी.जी. प्रेक्षागृह में भारतीय इतिहास की एक भूली-बिसरी कहानी ‘वीर गोकुला’ प्रस्तुति की।  धर्मान्ध औरंगजेब के अत्याचारों से बृज क्षेत्र के साधारण-जन बहुत परेशान हो जाते हैं।  हिन्दुओं के मन्दिर तोड़े जाते थे, उनकी स्त्रियों को दुर्व्यवहार का शिकार होना पड़ता था।
         शिवाजी के गुरु समर्थ गुरु रामदास उन दिनों मथुरा आए हुए थे।  उनसे प्रेरणा और मार्गदर्शन लेकर वहाँ के तिलपत का एक जाट जमींदार गोकुलसिंह या गोकुलराम या गोकुला आस-पास के गाँव वालों को संगठित करता है, और सन 1669 में औरंगजेब की सेना से लोहा लेता है।  समर्थ गुरु रामदास उन लोगों को गुरिल्ला युद्ध की तकनीकें भी इन्हें सिखाते हैं।
         इसमें एक महत्वपूर्ण बात निर्देशक ने दिखाई कि वहाँ की महिलाओं ने भी गोकुला के इस संघर्ष में बढ़-चढ़ कर हिस्सा लिया था।  पुरुष-स्त्री सभी विशाल मुगल सेना के साथ युद्ध करते हैं।  प्रारम्भ में गोकुला की बीस हजार सिपाहियों की इस सेना को कई छोटी-छोटी सफलताएँ भी मिलीं, लेकिन मुगलों की विशाल सेना से वो भला कब तक लड़ता?
         अन्त में वह औरंगजेब की सेना के द्वारा बन्दी बना लिया जाता है।  वे लोग गोकुला को इस्लाम स्वीकार करने को कहते हैं, जिसे वो अस्वीकार कर देता है।  इस पर मुगल सेना 1 जनवरी 1670 को उसे मौत के घाट उतार देती है।  उसकी पत्नी और अन्य स्त्रियाँ जौहर करने को मजबूर हो जाती हैं।  लेकिन यहाँ का जौहर अग्नि में जल कर नहीं हुआ था, बल्कि यहाँ पर स्त्रियों ने कटार से आत्महत्या की थी!
         यह घटना भरतपुर के जाट राजा सूरजमल से चार पीढ़ी पहले हुई बताई जाती है।  कहा जाता है कि इस छोटी सी घटना ने आगे चल कर भरतपुर राज्य की नींव डालने में महत्वपूर्ण भूमिका निभाई थी।  नाटक के निर्देशक देव फौजदार स्वयं इस बृज क्षेत्र से ही आते हैं, अतः उनकी प्रस्तुति में प्रामाणिकता का होना निश्चित माना जा सकता है; क्योंकि इतिहास केवल वही नहीं होता जिसे विजेता लिखवाते हैं, अपितु ऐसे कठिन काल का इतिहास प्रायः ही लोककथाओं में घुल-मिल जाता है!  और फिर, हमारे इतिहास की तो लाखों पुस्तकें और पाण्डुलिपियाँ जला भी दी गई थीं!  ऐसे में इतिहास की तथाकथित “प्रामाणिकता” का प्रश्न भारत में निरर्थक हो जाता है।
         देव फौजदार बताते हैं कि कुछ ही समय चल पाये इस संघर्ष में ब्राह्मणों, वैश्यों, यादवों, गूजरों, जाटवों, और बाल्मीकि सहित सभी जातियों ने अपना सहयोग दिया था।  माथुर वैश्य समाज ने इन युद्धों के लिये धन उपलब्ध करवाया था… और गोकुला की मृत्यु के बाद इस क्षेत्र में माथुर वैश्यों के तीन सौ गाँवों को जला दिया गया था।  देव बताते हैं कि गोकुला के खजाने की रक्षा का काम चमार या जाटव तथा बाल्मीकि जाति के लोगों ने सम्भाला था, जो परम्परा सूरज मल जी तक भी इसी प्रकार चलती रही!
         नाटक को निर्देशित करने के अतिरिक्त, एक दर्जन के लगभग पुस्तकों से शोध करके इस नाटक को लिखा भी देव फौजदार ने ही है।  एक ऐतिहासिक नाटक में सबसे अधिक महत्वपूर्ण होता है कलाकारों का अपनी ऊर्जा को बनाये रखना।  उस हिसाब से यह एक सफल नाट्य प्रस्तुति रही – सभी कलाकारों ने नाटक के अन्त तक पूरी ऊर्जा के साथ नाटक को खेला।  नाटक की ऊर्जावान गति को बनाये रखने में संगीत ने पूर्ण सहयोग दिया।  देव फौजदार ने अपनी रचनात्मक परिकल्पना से ऐसे दृश्यबन्ध तैयार किये कि दर्शक सम्मोहित हो जाते थे।
         नाटक का संगीत मोहन सागर और प्रसून ने दिया था, और तलवार चलाने का प्रशिक्षण गुरु विश्वजीत ने दिया, जिससे दृश्यों में एक जादुई प्रभाव पैदा हुआ।  लड़ाई के दृश्य फाईट मास्टर रूपेश चौहान ने तैयार किये थे, जबकि सृजनात्मक पक्ष की जिम्मेवारी प्रसिद्ध दृश्यबन्ध निर्माता जयन्त देशमुख ने निभाई।

On 18th August, the historic Kamani Auditorium in New Delhi witnessed a theatrical evening that transcended performance and turned into a soulful experience. “Yugpurush”, written and directed by Jayvardhan (J.P. Singh), offered precisely such a rare journey. Through this play, the director dared to bring to the stage the confluence of the guru–disciple tradition, spirituality, and human inquiry—and this daring vision succeeded on every level.

The performance began with the grand worship of Goddess Kali. The resounding beats of the dhak, the echo of conch shells, and the chanting of priests transformed the stage into a sacred temple. This was not just a religious tableau, but a conscious theatrical choice, transporting the audience to the spiritual ground where the journeys of Vivekananda and Ramakrishna began. Here, the culture of Bengal does not remain a mere backdrop but emerges as an inseparable part of the narrative. Costumes, music, and dance brought the stage alive—red-bordered saris, traditional dhotis, the melodic flow of kirtans, and classical gestures combined to transcend time and space, carrying the audience to nineteenth-century Calcutta.

One of J.P. Singh’s greatest strengths lies in his ability to balance tradition with modern theatrical technique. Stage design and lighting were not confined to creating atmosphere; they actively deepened the play’s philosophical resonance. Whether it was the steps of the Dakshineswar temple or the historic moment of the Chicago Parliament of Religions, projections and scene transitions provided not only dramatic flair but also symbolic depth. Light at times expressed Vivekananda’s inner turbulence, and at other times lingered on the compassionate smile of Ramakrishna.

The soul of the production was carried by its performances. Vipin Kumar, as Ramakrishna Paramhansa, infused the role with simplicity and spiritual radiance, making the presence of divinity palpable on stage. His compassionate gaze and subtle smile did not merely represent the character—they embodied it. Sudheer Rikhari, as Swami Vivekananda, brought to life the disciple’s inquisitive, logical, and energetic spirit. His voice and body language rekindled the memory of that historic moment when Vivekananda introduced Indian philosophy and spirituality to the world in Chicago. Together, their performances created the heartbeat of the play—the tender assurance of the guru alongside the restless questioning of the disciple, ultimately merging into a profound philosophy of life.

The greatest strength of Yugpurush is that it is not a simple dramatic recreation of historical or mythological figures. It is, at its core, a philosophical journey. Vivekananda’s scientific rationality and Ramakrishna’s devotional fervor converge to remind us that even today the true path of life lies in balancing these two poles.

A special note must be made of Jayvardhan (J.P. Singh). As both playwright and director, he proves that theatre for him is not merely an art form but a medium to bring life-philosophy to society. His writing lends depth to the dialogues, while his direction renders them alive both visually and aurally. For him, theatre is not simply “entertainment” but a path to “self-realization”—and this is the play’s greatest achievement.

In the end, “Yugpurush” is not just a stage production; it is a call of the soul. It demonstrates that the union of devotion and reason is the true essence of life. Even after the curtain falls, the experience resonates within the mind for long—and that is the hallmark of truly great theatre.

On June 14 and 16, 2025, the Faculty of Humanities and Liberal Arts at Rabindranath Tagore University, Bhopal, witnessed the powerful staging of two stylistically diverse plays — “Chekhov Ki Duniya” and “Urubhanga”. These productions were presented by the students of the MPA (Drama) and PG Diploma in Natyashastra as part of a national theatre workshop held from May 7 to 16, marking the culmination of their second semester curriculum. Through these performances, the students skillfully bridged classical Indian theatrical traditions with modern experimental aesthetics.

The two productions stood as compelling contrasts. While one portrayed the ironic absurdities of modern Western society through humour, the other breathed life into the deep emotional undercurrents of Indian mythology through poignant tragedy.

“Chekhov Ki Duniya” — A Humorous Reflection of Social Irony

Staged on June 14, “Chekhov Ki Duniya” was based on three comic one-act plays by Russian literary master Anton Chekhov — Cheeenk, The Bank Manager, and Surgery. Under the seasoned direction of Shyam Kumar and co-direction of Shraboni Saha, the play brought forth the complexities hidden in seemingly trivial incidents. From the social awkwardness triggered by a simple sneeze, to the oppressive nature of bureaucratic banking systems, and the cold commercialization of healthcare — each vignette was rendered with biting humour and subtle irony.

The ensemble cast brought these stories to life with remarkable authenticity. Sehej Harjai served as the narrator, with Ankit Chaudhary (Pyare Mohan), Tanshree Rane (Pyare Mohan’s wife), Sainand Valvaikar (General), and Oindrila Goswami (General’s wife) portraying Chekhovian characters with flair. Supporting roles by Santosh Rajput (Bank Manager), Sauptik Bhattacharya (Assistant Manager), Pooja Kewat (Woman), Praveen Namdev (Compounder), Davinder Singh Grover (Patient), and Deepak Bhardwaj (Audience Member) were met with hearty applause from both guests and viewers.

The backstage team worked with admirable precision. Stage management was handled by Davinder Singh Grover and Sehej Harjai. Costumes were designed by Deepak Bhardwaj, Santosh Grover coordinated props, lighting by Praveen Namdev, and musical direction was led by Vansh Rathore.

“Urubhanga” — A Mythological Tragedy That Stirred the Soul

Performed on June 16, “Urubhanga” is a poignant classical tragedy written by the Sanskrit playwright Bhasa. The play explores the psychological turmoil, remorse, and transformation of a wounded Duryodhana on the eighteenth day of the Mahabharata war. Under the direction of Dr. Sheetanshu Tripathi, the production delved into the devastating aftermath of war and internal conflict, deeply moving the audience.

Shubham Srivastava’s sensitive and intense portrayal of Duryodhana left an indelible mark. As the narrator, Pankaj Diwan effectively connected the audience with both the intellectual and emotional threads of the narrative. Supporting roles were performed by Adeeb Ansari, Sanjay Singh Negi (Ashwatthama), Prateek Chauhan (Dhritarashtra), Neeraj (Krishna), Richa Kalra (Gandhari), Shikha (Pauravi), Nisha Kudaikar (Malavi), Shubham Shivalikar (Durjaya), Unnish Pratap Singh (Baladeva), and the younger characters — Rahul Gupta, Prashant Kumar (Harshit), and Kartik Namdev — all delivering memorable performances.

The scenic design and costuming, supervised by Deepak Bhardwaj with active involvement from Kartik Namdev, enriched the stage with symbolic depth and aesthetic elegance.

Both performances were graced by distinguished guests — Chancellor Shri Santosh Choubey, Vice-Chancellor Prof. R. P. Dubey, and Dr. Prasad Bhide from Central Sanskrit University, Bhopal. After witnessing “Chekhov Ki Duniya”, the Chancellor lauded it as a sharp portrayal of social reality and commended both cast and crew. Regarding “Urubhanga”, Dr. Bhide praised its seamless fusion of ancient dramaturgy with modern theatrical techniques. Vice-Chancellor Prof. Dubey described both plays as commendable and emphasized the importance of sustaining such creative academic endeavours at the university.

The entire event was coordinated under the guidance of Dr. Sanjay Kumar Dubey, Dr. Savitri Singh Parihar, and Sh. Abhishek Deshmukh, whose leadership transformed this semester-end production into a rich academic and cultural experience.

“Chekhov Ki Duniya” and “Urubhanga” stand as testaments to the theatrical acumen, emotional insight, and creative potential of the students at Rabindranath Tagore University. These productions point towards a promising future — where tradition meets innovation, theory meets experience, and Indian roots engage meaningfully with global perspectives.

On May 24, 31, and June 1, Delhi’s L.T.G. Auditorium at Mandi House came alive with a rich blend of theatre as Natsamrat, a prominent performing arts group, presented a trio of compelling plays. Each piece offered a distinct flavour—ranging from heartfelt drama to sharp satire and uproarious comedy—beautifully reflecting the artistic breadth and emotional depth of contemporary Indian theatre.

Tender Reflections: Kambakht Ishq

Staged on May 31 at 3:00 PM, Kambakht Ishq, penned by Satyaprakash, offered a poignant look into the emotional needs of the elderly. Through the lives of two aging individuals coping with loneliness, the play delicately unraveled themes of companionship, vulnerability, and the quiet ache of growing old. With subtle dialogue and restrained yet powerful performances, the production struck a deep emotional chord with its audience, rendering it one of the most moving performances of the festival.

Comic Wit and Social Satire: The Proposal

Staged twice—on May 24 at 11:30 AM and again on June 1 at 3:00 PM—Anton Chekhov’s iconic one-act play The Proposal was brought to life with remarkable flair. What begins as a simple marriage proposal spirals hilariously into a heated argument over land and pets. The actors’ crisp comic timing, expressive body language, and fluid stage presence transformed the absurdity into biting social satire. It was a delightful reminder that laughter, when layered with irony, becomes a powerful mirror to societal quirks.

Laughter with a Message: Kallu Nai MBBS

Inspired by Molière’s classic farce and performed on May 24 at 12:30 PM, May 31 and June 1 at 4:15 PM, Kallu Nai MBBS followed the misadventures of a drunk barber who is forcibly made to act as a doctor. Behind the laugh-out-loud moments lay darker undertones of domestic abuse and the systemic marginalization of women. The fast-paced narrative, witty dialogues, and exaggerated characters created a comic spectacle that managed to entertain while prompting deeper thought.

Direction and Technical Excellence

All three plays were skillfully directed by Shyam Kumar, whose vision and theatrical sensibility were evident in the seamless staging. The ensemble cast—Vishwajeet, Munmun, Shivangi, Aman Kumar, Dhananjay, Raman Kumar, Rajan, and Saumya—delivered heartfelt and dynamic performances. Behind the scenes, the production team added immense value: Sunil Rathore and Suraj Singh (stage management), Himanshu and Nisha (assistant stage managers), Payal and Raj Rani (makeup), Rohit Prasad and Rekha Devi (costumes), and Vansh Rathore (music coordination).

Natsamrat’s theatrical offering was more than a cultural event—it was a celebration of theatre’s power to evoke, provoke, and connect. Through humour, emotion, and satire, the festival reminded us that the stage is not just a space for performance, but a living, breathing dialogue with society itself.

A Poetic Finale to a Festival of Stories

New Delhi | April 30, 2025 — The Katharang theatre series at the National School of Drama’s Sammukh Auditorium concluded on a touching and emotionally rich note with the stage adaptation of Rabindranath Tagore’s classic story “Samapti”. Presented by Mailorang and performed by the Sambhav Theatre Group, the production was directed by the eminent Professor Devendra Raj Ankur, who brought to the stage his trademark sensitivity and refined theatrical sensibility.

“Samapti” (The Completion) is a gentle yet powerful tale of emotional maturity and the freedom to grow into love. At the heart of the story is Mrinmoyee, a free-spirited village girl who is unready for the responsibilities of marriage and dismisses romantic expectations with the careless abandon of youth. When Apurva, a kind-hearted law student from Kolkata, falls in love with her and marries her against his mother’s wishes, Mrinmoyee struggles to accept the union. Apurva, instead of pressuring her, quietly returns to Kolkata. Left alone, Mrinmoyee begins to reflect, mature, and discover the true meaning of love. When she later visits him in Kolkata, their love story finds its quiet, heartfelt completion—not in dramatic reunion, but in the soft, mutual understanding that comes with time and growth.

The performances were deeply evocative and nuanced. Amit Saxena portrayed Apurva with admirable restraint and tenderness, embodying the patience and dignity of a man in love. Gouri Dewal brought youthful vibrance and infectious energy to the role of young Mrinmoyee, while Hema Bisht, portraying her matured counterpart, captured the inner transformation of the character with great poise and depth. Durga Sharma, as Apurva’s conservative mother, delivered a layered performance filled with conviction and emotional tension, while Amitabh Srivastava, as Mrinmoyee’s father, offered a sincere and grounded portrayal of a man caught between tradition and his daughter’s spirited nature. The ensemble of Prakash Jha, Nidhi Mishra, Tripti Jauhari, and Sahej Harjai supported the narrative with subtle and committed performances that helped bring the world of the play vividly to life.

Aesthetically, the play was a visual and auditory delight. The lighting design by Raghav Prakash Mishra added emotional texture to every scene, blending poetic softness with narrative clarity. The carefully curated music by Rajesh Singh, operated live by Unis Yadav, underscored key moments with sensitivity and restraint, enhancing the atmosphere without overpowering the dialogue or mood.

“Samapti” proved to be the perfect culmination to Katharang, bringing the series to a meaningful and emotionally satisfying close. Following the performance, a special segment took place on stage in which the writers of the plays featured during the festival—Vijay Pandit (writer of Jogiya Raag), Priyadarshan (Betiyan Mannu Ki), and Umashanker Choudhary (Ayodhya Babu Sanak Gaye Hain)—shared with the audience the inspirations behind their stories. Their reflections revealed not only their literary intentions but also the personal and cultural resonances that shaped their writing.

Adding a warm and personal touch to the evening, artists Nidhi Mishra, Amit Saxena, and Gouri Dewal came forward to share their experiences during the preparation of these productions. They spoke fondly about the collaborative process, the challenges of inhabiting complex characters, and the enriching journey of working under the mentorship of Professor Devendra Raj Ankur. Their heartfelt memories underscored the deep sense of community, artistic discipline, and emotional investment that fueled the spirit of Katharang.

As the curtains fell on this moving performance, it was clear that Katharang had concluded not just with a play, but with a celebration of storytelling, shared experiences, and the quiet power of theatre to transform hearts. “Samapti” lived up to its name—a beautiful completion, both of a love story and of a remarkable festival.

On April 29, 2025, the Sammukh auditorium of the National School of Drama, New Delhi, witnessed a deeply moving theatrical experience as part of the ‘Katharang’ series. The play “Ayodhya Babu Sanak Gaye Hain”, presented by Mailorang (Maithili Lok Rang) and staged by Sambhav Theatre Group, resonated profoundly with the audience. Based on a powerful short story of the same name by noted writer Umashankar Chaudhary, the production explored the contradictions and emotional fragmentation in contemporary society through an impactful dramatic interpretation.

Directed by Professor Devendra Raj Ankur, the play reflected a sharp eye for detail and a deep sense of social sensitivity. He intricately wove the essence of the original story into the dramatic structure, using characters as instruments to deliver a scathing commentary on present-day societal realities.

Amit Saxena delivered a layered and sensitive portrayal of the son. His internal conflict, the clash between duty and emotion, and the discomfort arising from Ayodhya Babu’s supposed madness were brought out with striking realism.

Hema Bisht, as the mother, left an unforgettable impression — especially in the final scene where her silent, broken presence on the deathbed conveyed volumes. Her performance evoked quiet grief and emotional depth.

Amitabh Srivastava brought the complex and multi-dimensional character of Ayodhya Babu alive on stage. His portrayal transcended mere eccentricity, revealing a soul tormented by truth and resistance against social hypocrisy. His ‘madness’ became a metaphor for the courage to speak truth in a world of convenient lies.

The lighting design by Raghav Prakash Mishra played a vital role in enhancing the emotional gravity of the scenes. Particularly in the strained moments between mother and son, the lighting subtly underlined the unspoken pain and tension.

With its naturalistic language, piercing dialogues, and emotionally resonant characters, the play captivated the audience from beginning to end. It was not merely a source of entertainment, but an invitation to introspect.

“Ayodhya Babu Sanak Gaye Hain” compels us to ask: who is truly mad — the one who dares to speak the truth, or the one who comfortably lives with lies? This remarkable production by Maithili Lok Rang and Sambhav Theatre Group stood out as a shining example of theatrical depth, creativity, and social commitment. By the final scene, the audience was not only emotionally moved but left with lingering questions and reflections.

On April 28, 2025, the Sammukh Auditorium of the National School of Drama, New Delhi, transformed into a space of introspection and intensity as part of the Katharang series presented by Mailorang (Maithili Lok Rang). The evening featured two poignant theatrical presentations—“Ek Stree Ke Kaarname” by Suryabala and “Betiyaan Mannu Ki”, based on selected short stories of Mannu Bhandari. Both productions were helmed by acclaimed theatre director Prof. Devendra Raj Ankur, known for his ability to breathe theatrical life into literary works with sharp insight and emotional precision.

“Ek Stree Ke Kaarname” — A Satirical Soliloquy of the Self

The first play, “Ek Stree Ke Kaarname”, dived deep into the psyche of a seemingly balanced and educated woman whose exterior composure masks an inner churning of suppressed emotions, quiet frustrations, and the desperate quest for identity. Suryabala’s acerbic wit and psychological depth were beautifully translated on stage through a tight script and layered performances.
Durga Sharma, portraying the central character, delivered a finely tuned performance—her expressive control and emotional nuance navigating the character’s journey from repression to quiet self-awareness. Amitabh Srivastava lent strength to the performance with his presence, bringing balance and rhythm to the narrative’s unfolding. The interplay of speech, silence, and irony kept the audience deeply engaged, holding a mirror to the everyday contradictions of womanhood.

“Betiyaan Mannu Ki” — Fragments of Feminine Reality

The second presentation, “Betiyaan Mannu Ki”, was an ensemble performance based on several short stories by Mannu Bhandari, one of Hindi literature’s most powerful voices on gender and identity. The play explored multiple dimensions of womanhood across varied roles and stages of life, offering moments of tenderness, conflict, vulnerability, and resistance.
The cast—Amit Saxena, Gauri Deval, Aditi, and Rachita Verma—brought these diverse female experiences to life with empathy and skill. Each transition between characters and narratives was handled with clarity and emotional depth. Whether as daughters, lovers, mothers, or rebels, the female characters emerged with raw honesty, making the stories resonate deeply with the audience.

The production’s lighting, designed by Raghav Prakash Mishra, subtly enhanced each scene’s emotional tone without overpowering the narrative. His use of soft transitions, warm shadows, and isolated highlights helped build the psychological landscapes of both plays. The minimalist set and gentle pacing allowed the performances and text to breathe, focusing the audience’s attention squarely on the characters and their journeys. The music selection, curated by Rajesh Singh, provided an evocative auditory backdrop, enhancing each emotional transition. Sahaj Harjai and Unis Yadav skillfully operated the music during the performances, ensuring smooth and expressive sonic flow that deepened audience immersion.

Katharang’s theatrical evening was a thoughtful confluence of literature and performance—a celebration of women’s stories told with dignity, irony, and emotional truth. Prof. Devendra Raj Ankur once again demonstrated his profound sensitivity as a director, translating literary narratives into stage experiences that speak directly to the conscience. The evening left the audience moved, provoked, and awakened reminding us that theatre, at its best, does more than entertain; it opens conversations and illuminates’ silences.