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 27th April 2025, at the Sammukh Auditorium of the National School of Drama, Delhi, the theatrical evening under the “Katharang” program—organized by Mailorang (Maithili Lok Rang), Delhi—featured Sambhav’s evocative presentation “Unke Hisse Ka Prem evam Gareeb Nawaz”. The performance offered an experience that touched audiences at their very core.

The direction was helmed by senior theatre practitioner Prof. Devendra Raj Ankur, whose theatrical finesse was evident in every scene and every emotion of the presentation.

The first story viewed love from an unusual yet striking perspective—where inanimate objects, rather than humans, become witnesses. Set in an office, the hidden layers of a boss’s romantic entanglements are brought to life through the voices of his desk, chair, diary, mirror, and pen. While the concept sounds extraordinary, it was executed on stage with remarkable ease and believability. These lifeless symbols transformed into living characters before the audience’s eyes, each one addressing the viewers—sometimes with sarcasm, at other times with compassion. The director’s choice to turn objects into “characters” was a daring experiment in theatre, and it proved to be a wholly rewarding one.

The second story depicted a contemporary conflict within society, rendered in a simple yet powerful form. The struggle between Vishwamohan—who returns from America to start a BPO—and Riyaz, who opens a modest “Gareeb Nawaz Chicken Shop” next door, is not merely a business rivalry. It becomes a clash of two worldviews. Beneath its humor and wit, the story makes a poignant commentary: in the blind race for development, how many truths are trampled, and how many “Gareeb Nawaz” figures are pushed to the margins?

On stage, Nidhi Mishra, Gauri Dewal, Rachita Verma, Amitabh Srivastava, Amit Saxena, Harikesh Maurya, Sahaj Harjai, and Prakash Jha brought their characters to life with such intensity and nuance that each scene appeared to unfold right before the audience’s eyes. Their performances added soul to the characters, going beyond mere dialogues. Behind the scenes, too, a dedicated creative team worked tirelessly.

Music selection was curated by Rajesh Singh, and technical operation during the performance managed by Unish Yadav and Sahaj Harjai, whose acoustic execution ensured precise alignment of sound with the emotional tone and rhythm of each scene.

Lighting was sensitively designed by Raghav Prakash Mishra, whose balance of light and shadow added both visual clarity and thematic depth. Every aspect of stage design, management, and visual aesthetics reflected a mature professional sensibility and deep theatrical insight, elevating the performance to a level of artistic completeness.

It would not be an exaggeration to say that this presentation offered more than just two stories—it offered two distinct philosophies of life. One, where love remains forever incomplete; and the other, where in the name of “success,” human relationships and grounded realities are blurred. Prof. Devendra Raj Ankur’s endeavor reaffirmed that theatre does not end at the stage—it becomes an extension of our consciousness.

Sambhav’s performance reminded us that when acting, direction, and thought move in unison, theatre becomes more than performance—it becomes a dialogue that resonates deeply within the viewer, long after the lights have dimmed.

The monthly symposium began with a heartfelt tribute to the innocent civilians martyred in the recent terrorist attack in Pahalgam. All present members observed two minutes of silence, expressing their emotions in an unspeakable way. The entire atmosphere seemed to be immersed in a silent prayer.

On the auspicious occasion of the lighting of the lamp, all distinguished guests performed the lamp lighting ceremony, illuminating the stage.

Following this, a melodious stream of music began. The soulful singing by Mr. Vijay Rawal and Mr. Veer Mani Trivedi touched the hearts of everyone present. Their mastery of voice filled the atmosphere with unseen compassion and hope.

The main attraction of the symposium was the analytical discussion on the theatrical presentation ‘Arey Gadbadi Ho Gayi’, inspired by the Sanskrit play ‘Bhagavadjukkam’ by Bodhayan, directed by Raj Upadhyay, and performed by Navras Group.

In this discussion, the depth of the story, authenticity of the acting, the liveliness of the stage arrangement, and the artistic features of the entire presentation were examined in detail. Critics appreciated the dedication and effort of the Navras Group artists, stating that the presentation not only entertained but also sparked deep contemplation.

The Navras Group artists were deeply moved after hearing such a heartfelt and in-depth review of their performance. They expressed that such analytical discussions inspired them to further deepen their theatrical practice. They also expressed their gratitude to Sanskar Bharti for providing such a valuable platform.

To elevate the dignity of the event, the presence of several distinguished guests was noteworthy. Dr. Prashant Upadhyay, Delhi Province Minister, Senior NSD theater artist Mr. Pradeep Mohanty, Mrs. Shashi Prabha Tiwari, educationist Dr. Ruchika, and Mr. Manish Jha honored the event with their esteemed presence.

The success of the program was greatly aided by the contributions of Delhi Province’s stage art coordinator Mr. Raj Upadhyay, senior theater artist Shyam Kumar, Shraboni Saha, Garima Rani, Vishwadeep, Sneha Mukherjee, Raman Kumar, Saurav Tripathi, Pradeep Pathak, Mrityunjay, Brijesh, Shivam, Sushank, and Sakshi.

The event was skillfully and warmly conducted by Bharti Dag, and Mrs. Shruti Sinha concluded the art-filled evening with a heartfelt vote of thanks.

Vagish K. Jha

Orbituary by Neelesh Deepak

मन बहुत दुखी है। शब्द नहीं है मेरे पास। मन बहुत भारी लग रहा है। मेरे गुरु, बड़े भाई और दिल्ली में अभिभावक Vagish K Jha नहीं रहे। आपका अचानक चले जाना मन को कचोट रहा है। पिछले महीने घंटों आपसे बातचीत करके आया हूँ, और आज सुबह आपके निधन की सूचना, स्तब्ध कर गया।

आपका जाना मेरे लिए
व्यक्तिगत क्षति है। जब भी मैं मन की विचलन से भ्रमित होता था तो आपको फोन करता या आपके घर आकर आपसे दिशा निर्देश लेता रहता।

आपसे मैं संस्कृतिकर्म, शिक्षा, इतिहास, रंगमंच और लोक कला पर घंटो बहस करता रहता था। इन तमाम मुद्दों पर आपकी समझ विरल थी।

गुरुदेव सादर प्रणाम👏👏
आज मैं जहाँ भी हूँ आपकी ही वजह से हूँ।

लगभग 25 सालों से आपके सानिध्य में काम करता रहा हूँ। आपके ही नाटक ‘बिजुलिया भौजी’ से सार्थक नाट्य जगत में पदार्पण किया था। तबसे आपके साथ सानिध्य का सौभाग्य प्राप्त होता रहा है। आज आप नहीं है। दुःखी का पारावार नहीं है।

यही जीवन है, ओह😢गुरुदेव

Memorial service Saturday

Brief Biodata
Vagish K Jha held a Master degree in Philosophy and Masters in History from J.N.U, New Delhi. In the field of communication, he had ventured into journalism, theatre, television and has also written articles in national dailies and magazines

New Delhi, January 26: A special monthly symposium was organized at Sanskar Bharati’s central office, ‘Kala Sankul,’ on the eve of Republic Day. The theme of the symposium was “The Artist’s Vision of the Soul of the Indian Constitution,” with Shri Lakshmi Narayan Bhala Ji, a senior pracharak of the Rashtriya Swayamsevak Sangh and an expert on the Indian Constitution, as the keynote speaker.

The event began with floral tributes to the portrait of Bharat Mata and a ceremonial worship. During the session, Shri Bhala Ji shed light on the historical and cultural significance of the illustrations created by Nandalal Bose in the original manuscript of the Indian Constitution. He emphasized that these illustrations are not merely decorative but serve as a vivid reflection of Indian civilization, culture, and the soul of the Constitution. Through these artworks, the traditions, glorious history, and values of India’s freedom struggle have been effectively conveyed.

Shri Bhala Ji elaborated on the role of these illustrations in each chapter of the Constitution. He highlighted that great artist like Nandalal Bose dedicated their artistic expertise to give each page of the Constitution a unique identity. These illustrations incorporate significant elements from the Mahabharata, Ramayana, Buddhism, and key events of India’s freedom struggle, portraying the Indian Constitution as a living and inspiring document.

The symposium witnessed participation from a large number of art enthusiasts and thinkers, who regarded it as an inspiring opportunity to understand Indian art traditions. The officials of Sanskar Bharati expressed gratitude to everyone involved and resolved to continue organizing such motivational events in the future.

All India Organization Minister Shri Abhijit Gokhale and Area Organization Minister Shri Vijay Kumar were specially present on the occasion. The symposium was skillfully conducted by Garima Rani, while the vote of thanks was delivered by Shri Kuldeep Sharma, the convenor of the drama symposium. The success of the event was supported by significant contributions from Shri Vishwadeep, Pradeep Pathak, Ms. Anchal, Sushank, Shivam Mrityunjay, Saurabh, Harshit, Raman, and Kala Sankul’s administration head, Shri Digvijay Pandey.

This symposium was a commendable effort to unveil the depth of the Indian Constitution, and the unique aspects of Indian culture embedded within it. The illustrations by Nandalal Bose not only enhance the aesthetic appeal of the Constitution but also symbolize India’s soul and its rich historical heritage. Such events provide an opportunity to connect with Indian traditions and culture while deepening respect for the Constitution.

Bhopal. Vanmali Srujan Kendra, Bhopal unit organized a special poetry recitation series called ‘Kavi Saptak’ in the Muktdhara Auditorium of Rabindranath Tagore University on 23 December 2024. In which talented poets of Rabindranath Tagore University and Scope Global Skill University mesmerized the audience with their creations.

In this program, Shashwat Verma, Ashi Dixit, Vikrant Bhatt, Vishakha Rajurkar Raj, Mudit Srivastava and Mausami Parihar recited their poems, which immersed the auditorium in literary essence. Shashwat was seen communicating with his inner self in his poems, while the freshness of language was seen in Ashi’s poems. Vikrant presented his curiosities in poetry. Vishakha scattered the rainbow colors of love in her poems. Mudit worked to bind the events of life and the fine lines of nature in language. Mausami expressed her tender restlessness through poems.
The program was presided over by Dr. Veena Sinha ji, President of Vanmali Srujan Kendra, Bhopal unit. Who congratulated the poets and shared her views on their poems. Shri Vinay Upadhyay ji also praised the poets and the new experiments done in their creations. At the end of the program, Dr. Savitri Singh Parihar, Coordinator of Sanskrit Oriental Language and Indian Knowledge Tradition Center, expressed her gratitude to everyone. Student Pushpendra, Chairman of Virasat Samiti, conducted the program efficiently, and on this occasion teachers of the Faculty of Humanities and Liberal Arts and students of Natya Vidyalaya were also present as spectators. Due to which the program got a wide and enthusiastic audience. ‘Kavi Saptak’ not only provided a platform to poetry lovers but also promoted literary dialogue and creativity.

Conversations: Before I Forget

Reviewed by Manohar Khushalani

M.K. Raina’s memoir, “Before I Forget,” is a deeply moving chronicle of his multifaceted life as a theatre actor, director, and cultural activist. The memoir weaves through various stages of his life, from his serene childhood in Kashmir to his influential role in Delhi’s theatre scene, and his poignant experiences during the turbulent periods of Kashmir’s history. At IIC,

Sujata Prasad and Oroon Das, conducted an extremely engaging and memorable conversation with the author.

His narrative began with memories of his early years in Kashmir, painting a picture of harmony and cultural richness. He describes the idyllic days in the Sheetal Nath Sathu Mohalla, where Hindus and Muslims lived together in peace, and his nurturing education at Lal Ded Primary School. This nostalgic recounting provides a stark contrast to the later chapters, which detail the descent of Kashmir into violence and chaos in the 1990s.

The core of Raina’s memoir focuses on his efforts to use theatre as a tool for social change and healing. Despite the insurgency and violence in regions like Kashmir and the North-East, Raina set up theatre workshops aimed at reviving folk traditions and fostering community spirit. His work often put him in danger, yet he persisted, driven by a cause greater than activism—a belief in mending the fabric of society. One of his significant achievements was the successful theatre workshop in Kashmir in 2000, where he taught young locals not just theatre, but values of rationality and responsibility.

Raina’s reflections on the political and cultural history of India are profound. He recounts witnessing turbulent times, the Emergency period, Indira Gandhi’s assassination, the Delhi riots, and the death of playwright Safdar Hashmi. These events are narrated with a historian’s precision and a poet’s sensitivity, capturing both the joy and sorrow of living through India’s tumultuous times.

The memoir delves deeply into the traumatic period of the 1990s in Kashmir. Raina’s mother’s illness during the violence-ridden winter. Amidst curfews and security checks, he navigated the challenges of getting medical care for his mother, only to face the heartbreak of her passing. The exodus of Kashmiri Pandits during this period is another painful memory, highlighting the erosion of centuries-old communal bonds.

Raina’s narrative does not shy away from the complexities and mistrust that grew among communities: How even brothers became strangers, emphasizing the profound impact of fear. His return to Kashmir in the 2000s to conduct theatre workshops marked a significant effort to rebuild trust and revive cultural practices like the traditional folk theatre, Bhand Pather.

Raina balances personal anecdotes with broader socio-political observations. His encounters with cultural luminaries in Delhi, such as Shabana Azmi, Naseeruddin Shah, and Om Puri, are interspersed with reflections on the decline of the city’s once-vibrant theatre scene

“Before I Forget” is a testament to M.K. Raina’s unwavering dedication to his craft and his cause. It is a poignant reminder of the importance of cultural heritage in fostering understanding and unity in times of conflict. His declaration, “We should never forget but always forgive”

First Published in IIC Diary April-May 2024

Review by By Manohar Khushalani

The launch and discussion at the India International Centre (IIC) of a multilayered narrative, “Ebrahim Alkazi: Holding Time Captive,” shed light on the life and legacy of Ebrahim Alkazi, a towering figure in twentieth-century Indian theater and visual arts. Amal Allana, Alkazi’s daughter, presents a meticulously researched account of her father’s life, offering insights into his role in shaping the cultural landscapes of Mumbai and Delhi from the 1940s to the 2000s.

Ebrahim Alkazi, renowned as a theater doyen and pedagogue, passed away at the age of 94, leaving behind a monumental legacy in Indian theater. His career spanned an impressive 74 years, during which he directed iconic plays such as Girish Karnad’s “Tughlaq” and mentored generations of actors, including Naseeruddin Shah and Om Puri. Alkazi’s upbringing, education, and early associations with the Bombay Progressive Artists’ Group laid the foundation for his groundbreaking contributions to Indian theater.

As the longest-serving director of the National School of Drama, Alkazi revolutionized Hindi theater with his visionary approach and technical precision. His establishment of the Repertory Company and the School of Dramatic Arts showcased his commitment to nurturing talent and promoting theatrical excellence. Beyond theater, Alkazi’s influence extended to the visual arts, as evidenced by his founding of the Art Heritage Gallery in Delhi with his wife, Roshan Alkazi.

Allana’s biography not only celebrates her father’s professional achievements, but also delves uninhibitedly into his personal life, providing a nuanced portrait of a multifaceted individual. Through interviews, archival research, and personal recollections, Allana, herself a renowned and celebrated theatre director, offers readers a glimpse into Alkazi’s emotional journey and his profound impact on modern Indian cultural history.

The discussion at the IIC, moderated by Naman Ahuja, further enriched the narrative, with Allana engaging in conversation about her father’s legacy and the process of writing his biography. Dramatic readings by two actors, Sonam Kalra and Rehaan Engineer, added depth and resonance to the event, underscoring the theatricality inherent in Alkazi’s life and work.

Overall, “Ebrahim Alkazi: Holding Time Captive” stands as a testament to the enduring legacy of a cultural icon. Allana’s narrative, both enthralling and critically astute, pays homage to Alkazi’s monumental contributions while situating him within the broader context of modern Indian cultural history.

First Published in IIC Diary February-March 2024

As the rays of your beam 
Transcend through our sheets 
The creases collapsing with time 
One after the other,
He, after him
after you 
The blinding intoxicating power
A touch, innocent, eternal 
A smile, banished, surrendered 
Will you remember that we loved?
That we loved, despite knowing 
Knowing it won't last.
So as long as you walk through life 
Trying to find me the "Touch-me-nots"
Remember our macadam of broken dreams.
A life we never lived.

A life undone 
Unfinished

“Tritiya Akash,” translating to “the third sky,” is more than just a title; it represents a bold venture into uncharted territories. Dr. Prapti Thakur compiled and edited this anthology of short stories in Assamese, delving deep into the lives, struggles, psychology, and obstacles faced by the queer community. While Queer studies are gaining traction in various writer and researcher communities, this anthology stands out for several reasons. In Assam, Queer studies in the academic field and other creative pursuits are in the infant stage. Unlike most academic institutions that confine their publications to the prescribed syllabus, our educational institution has dared to publish such a book as part of our academic endeavour. Additionally, this anthology challenged the prevailing norms by openly discussing a taboo topic for many.

It’s noteworthy that Sarupathar College isn’t nestled in the bustling city but rather situated in upper Assam, distanced from the state’s intellectual hub. Dr. Prapti Thakur, the college’s principal, deserves commendation for advocating such a radical academic approach.

This anthology comprises thirty-one short stories penned by writers from across the state, spanning various age groups. However, it’s noticeable that only two senior writers contributed: Sneha Devi (1916-1990) and Dr. Gobinda Prasad Sarma. Sneha Devi, primarily a homemaker, wasn’t extensively involved in literary social circles. Hence, witnessing her empathy toward such a significant topic is surprising and heartbreaking, especially amidst limited discussions. On the other hand, Dr. Gobinda Prasad Sarma, a former Professor of Guwahati University, known for his scholarly creative works and openness, bravely tackled the social taboo by addressing the theme of lesbians in his story. While the other writers explore diverse themes and social issues, delving into such a topic is not unusual for them. Not all stories have high literary standards, yet they should be applauded for their theme and creative openness.

Dr. Pori Hiloidari contributed a comprehensive critical preface, dissecting the short stories’ thematic and structural nuances. This preface serves as a guiding light for writers, enabling them to grasp the theme’s essence and craft more impactful narratives from varied social perspectives.

This collection has sparked numerous questions, prompting us to seek insights from the Editor and the college’s principal, Dr. Prapti Thakur.

What inspired you to edit and publish this anthology?

The inspiration behind curating this anthology stemmed from the recognition that queer subjects, despite being incorporated into the English literature curriculum of Delhi University, remain largely unaddressed within the Assamese literary syllabus. Consequently, this project aims to bring these narratives to the forefront, fostering a broader discourse on queer representation within the academic landscape.

Considering that the Queer subject may not be part of your college syllabus, how do you anticipate this collection contributing to academic discourse?

Although the queer subject matter may not currently be a part of the prescribed college syllabus, this collection holds the potential to enlighten our students about the diverse content of Assamese short stories. The content of this anthology is socially significant, and I think our students will become aware of a social issue that is still regarded as taboo. From an academic point of view, it can be said that presenting a diverse array of narratives that explore queer experiences prompts critical engagement and encourages intellectual inquiry into the multifaceted dimensions of gender and sexuality in the Assamese context. This anthology provokes scholarly discussions, challenging existing paradigms and enriching the philosophical landscape.

How have your colleagues and students responded to this anthology?

The reception of this anthology among colleagues and students has been overwhelmingly positive. They were very enthusiastic from its inception as they felt that our college would do something radical. Without the support of my colleagues, it would not have been possible to publish a book on such a topic from an educational institute.

Could you share the reactions of both readers and writers to the collection?

The reactions from both readers and writers have been equally commendable. During the anthology’s release on January 7th, 2023, in the presence of several esteemed writers, noted gender activists, and readers, the project garnered widespread acclaim and appreciation for its significance in amplifying marginalised voices and promoting inclusivity within the literary norm from an academic institution.

Were there any obstacles encountered during the production process?

Remarkably, the production process was devoid of any substantial obstacles. All the writers participated in the project with excellent support for the cause. Dr. Pori Hiloidari, a leading literary critic of the state, wrote the anthology’s preface at my request. I am sure this preface will stand as a significant work in Queer studies in the Assamese language.

What are your plans regarding publishing books on this topic and others?

Our Sarupathar College is very excited to publish more books on this queer topic and other important, socially significant, and literary themes. We are committed and determined to work on projects that benefit our students’ community and society.