Eight performances, four plays, and one unforgettable theatrical experience.

Natsamrat Delhi brought a dynamic theatrical celebration to the LTG Auditorium, Mandi House, with its four-day showcase held on 9, 10, 15 and 16 November 2025. Through eight performances of four thoughtfully selected plays, the event highlighted the richness and diversity of Indian theatre while offering audiences a memorable blend of humour, sentiment and social insight.

The festival opened with The Proposal, Anton Chekhov’s timeless comedy of manners. The production delighted audiences with its sharp wit and expressive performances, turning a simple marriage proposal into a whirlwind of hilarious arguments over land and a beloved dog. The actors captured Chekhov’s satire with perfect timing, keeping viewers engaged and amused throughout.

Touching the emotional core of the festival, Satya Prakash’s Kambakht Ishq explored the inner world of two elderly individuals battling loneliness. The play’s sincerity, gentle humour and heartfelt dialogues resonated deeply with spectators. Its portrayal of companionship and emotional vulnerability brought a quiet poignancy that lingered long after the curtain closed.

The showcase continued with Chekhov ka Sansar, which presented two of Chekhov’s notable stories with a beautiful balance of humour and introspection. The play captured the writer’s subtle emotional currents, highlighting the contradictions of human nature and the understated wit that defines his storytelling.

Providing a lively comedic high point, Kallu Nai MBBS—inspired by Molière—brought the house down with its spirited performances and fast-paced energy. Revolving around a drunken barber forced to impersonate a doctor, the play offered uproarious humour while subtly commenting on social issues such as domestic violence and gender dynamics.

All four plays were directed by Shyam Kumar, whose thoughtful interpretation and cohesive vision shaped the entire festival. The ensemble cast—featuring Vishwajeet, Munmun, Shivangi, Aman Kumar, Vansh Rathore, Raman Kumar, Rajan K Batheja and others—delivered compelling and engaging performances. Supporting them was a dedicated backstage team, including stage managers Sunil Rathore and Suraj Singh, assistant stage managers Himanshu and Nisha, makeup artists Payal and Raj Rani, costume assistants Rohit Prasad and Rekha Devi, and music operator Vansh Rathore.

Audience Reactions

The showcase drew enthusiastic responses from theatre lovers, many of whom praised the emotional breadth and artistic clarity of the performances.

“It felt like watching four different worlds unfold on one stage. Each play had its own charm.” – Audience Member

“Kambakht Ishq brought tears to my eyes. Such honest performances—it stayed with me long after the show.” – Senior Theatre Enthusiast

“We came for the comedy, but Chekhov surprised us! The humour and sensitivity were beautifully balanced.” – Young Couple

“Kallu Nai MBBS had the entire hall roaring with laughter. Brilliant timing by the actors!” – College Group

“A refreshing blend of classic storytelling and contemporary relevance. Truly a rewarding experience.” – Regular Visitor

The warm applause and heartfelt reactions reflected the lasting impact of Natsamrat Delhi’s November showcase—a testament to the enduring power of theatre to inspire, entertain and connect audiences across generations.

पात्र:

– शुद्धता – आधुनिक, तार्किक सोच वाली किशोरी

– माता – गहन सनातनी, कृष्णभक्त

– पिता – शांत, समझदार

– मुस्लिम बुनकर महिला (अम्मी जान)

– पुजारी / साधु

– भिखारी

– गाँव के लोग, मन्दिर के सेवक

—————————————-

दृश्य 1 : घर का प्रांगण – मूल्य और विवाद

(माता तुलसी के पास दीपक जला रही हैं। पिता जपमाला फेर रहे हैं। शुद्धता मोबाइल पर फास्ट-फूड देखते हुए प्रवेश करती है।)

माता:

शुद्धता, फिर से वही चिकन बर्गर? बिटिया, हम तो सदा से नैष्ठिक वैष्णव हैं। घर में कभी मांस नहीं बना।

शुद्धता:

माँ! सिर्फ इसलिए कि आप खाने से परहेज़ करती हैं, मैं क्यों करूँ? मैं अपनी पसंद की चीज़ें क्यों न खाऊँ?

पिता:

बिटिया, हम तुझे रोक नहीं रहे। बस इतना कह रहे हैं— तू जो भी करे, नम्रता और समझ के साथ करे।

शुद्धता:

पर क्यों? भगवान को मेरी थाली से क्या लेना-देना? क्या वह सच में खाने से नाराज़ होता है?

माता:

जब तू ऐसा कहती है न शुद्धता… लगता है जैसे हमारी श्रद्धा पर प्रश्न उठा रही है।

शुद्धता:

माँ, मैं किसी की श्रद्धा को चोट नहीं करती। बस… मैं अपनी राह खुद चुनना चाहती हूँ।

पिता:

शुद्धता… तू कुछ दिन वृन्दावन चली जा। वहाँ की भूमि, वहाँ की हवा, सब संदर्भ सिखाती है।

—————————————-

दृश्य 2 : वृन्दावन – बुनकर महिला का घर

(शुद्धता आश्चर्य से घर को देखती है। रंग-बिरंगे वस्त्र, मोतियों की झालरें। मुस्लिम महिला—अम्मी जान—मुस्कुरा कर देखती है।)

अम्मी जान:

आओ बेटी। कुछ ढूँढ रही थीं?

शुद्धता:

आप… ये सब? ये तो ठाकुरजी के वस्त्र हैं!

अम्मी जान:

हाँ बेटी। हमारे घर में तीन पीढ़ियों से यह सेवा चल रही है। यहाँ कोई मांस नहीं पकता। हम मानते हैं— सेवा में पवित्रता ही सौंदर्य है।

शुद्धता:

लेकिन… मैं तो मानती हूँ यह सब बस “लोगों की अपनी पसंद” है।

अम्मी जान:

ठीक है बेटी। हर इंसान की अपनी राह। पर कभी-कभी प्रेम के लिए हम अपने को सीमित करते हैं— श्रद्धा से।

—————————————-

दृश्य 3 : ठाकुरजी का मंदिर – भिखारी से मुठभेड़

(मंदिर के बाहर भिखारी बैठा है।)

शुद्धता:

बाबा, लो प्रसाद।

भिखारी- मैं आपसे नहीं लूँगा बिटिया। मैंने आपको कल मांस खाते देखा था। ठाकुरजी का दास हूँ। मेरी थाली में वही आता है जो मन को निर्मल करे।

शुद्धता- तुम पक्षपात कर रहे हो? क्या तुम्हे लगता है की मेरा बहिष्कार करनेसे तुम्हारे ठाकुरजी प्रसन्ना हो जायेंगे? भगवान् यदि पक्षपाती हैं तो फिर तो और क्या कहना. भूके हो सुबह से मगर मेरे हाथ का नहीं खाओगे!

भिखारी- यह मेरा नियम है.

शुद्धता- भाड़ में जाओ. नियम के नाम पर ज़िद है और कुछ नहीं. मृत्यु को गले लगाने की ज़िद है तुममे.
भिखारी- यही सही. ठाकोरजी यदि यही चाहते हैं तो यही सही.

(थोड़ी देर बाद एक आदमी वहां एक कुत्ते को रोटी देकर जाता है. कुत्ता उसे नहीं खता. भिखारी जाकर लेकर खा लेता है.)
भिखारी- ( शुद्धता की और देखते हुए) ठाकोरजी, आज आपने एक रोटी देकर मेरे संकल्प की लाज रख ली.
जब तक मन में विनम्रता नहीं, तब तक कोई प्रसाद भी स्वीकार नहीं करता।(शुद्धता- बिना कुछ बोले वहां से चली जाती है.)

—————————————-

दृश्य 4 : ठाकुरजी का मंदिर – पुजारी से प्रश्न

शुद्धता:

पुजारी जी, क्या मांस खाना पाप है?

पुजारी: (मुस्कराकर)

उत्तर तेरे भीतर है।

शुद्धता:

बहुत बढ़िया कूटनीति! अगर भगवान के खाने की “पसंद-नापसंद” है तो क्या वे पक्षपाती हैं?

पुजारी:

जा, ठाकुरजी को भोग लगा दे। वहीं उत्तर मिलेगा।

—————————————-

दृश्य 5 : भोग लगाते समय चमत्कार

(शुद्धता थाली उठाती है—दो बार थाली गिर जाती है।)

शुद्धता: (रोते हुए)

भगवान मुझे स्वीकार क्यों नहीं कर रहे?

पुजारी:

भगवान पक्षपाती नहीं। तेरे भीतर का अहंकार तुझे अस्वीकार कर रहा है। तू सबको यह सिद्ध कर रही थी कि “मैं सही हूँ।” यही तेरा पाप है, भोजन नहीं।तुमने सबपर अपनी इच्छा थोप दी. तुम सबको यह समझाना चाहती हो की ईश्वर को शाकाहारी और मांसाहारी से कोई फ़र्क़ नहीं पड़ता किन्तु तुम्हारा तरीका गलत है. तुम चाहती नहीं की कोई तुमपर कोई नियम लगाए किन्तु तुम सबपर नियम लगाना चाहती हो! क्या यही आधुनिकता है?

—————————————-

दृश्य 6 : आत्मबोध और वापसी

(शुद्धता घर लौटती है।)

माता:

कैसी थी यात्रा?

शुद्धता:(जवाब में बस इतना ही कहते हुए) धर्म है — सम्मान और संतुलन।यह यात्रा केवल मेरे तन की शुद्धता नहीं थी, मन की शुद्धता के लिए भी थी माँ…

धन्यवाद ठाकुरजी… मुझे शुद्धता का वास्तविक अर्थ सिखाने के लिए।

—————————————-

“धर्म का सार त्याग में नहीं, विनम्रता में है। भोजन की शुद्धि से पहले मन की शुद्धि आवश्यक है।”

Presented by the Hindi Academy, Delhi, the play “Lokmata Ahilyabai Holkar” emerged as a compelling blend of historical narrative, dignity and emotional depth, commemorating the 300th birth anniversary of Ahilyabai Holkar. Staged on 19th November, 2025 at the L.T.G. Auditorium, the production not only illuminated her exemplary courage and administrative acumen but also brought alive her profound humanitarian vision.

The event gained special prominence with the presence of Hon’ble Chief Minister of Delhi, Mrs. Rekha Gupta, Mr. Kapil Mishra (Hon’ble Minister, Department of Art, Culture & Language, Delhi), and Mrs. Bansuri Swaraj. Their presence elevated the cultural stature of the evening and energized the audience.

Addressing the gathering, Hon’ble Chief Minister Mrs. Rekha Gupta highlighted Ahilyabai’s life, her benevolent leadership and her unwavering commitment to justice. She noted that in ancient times women enjoyed education and equal rights, but circumstances changed drastically after the arrival of the Mughals—leading to restrictions and seclusion. In such a period, Ahilyabai stood as a shining example of strength, wisdom and progressive thought.

Hon’ble Minister Mr. Kapil Mishra and Ms. Bansuri Swaraj also emphasized the need to bring Ahilyabai Holkar’s ideals to the forefront, stating that her life continues to inspire society even today.

The event was further graced by Guest Mrs. Rashmi Singh (IAS), Secretary – Department of Art, Culture & Language. Under the leadership of Mr. Sanjay Kumar Garg, Secretary of the Hindi Academy, the entire programme unfolded with grace and coherence. All dignitaries appreciated the artistic excellence of “Lokmata Ahilyabai Holkar”.

The play’s director Rohit Tripathi transformed the narrative into a visually engaging experience with refined staging, balanced emotional transitions and well-structured dramatic movements. Writer Mukesh Jha brought historical events to life with clarity, flow and an engaging dramatic texture. Despite the narrative’s breadth and the many characters involved, the presentation remained cohesive, gradually rising in intensity and drawing the audience closer to the towering personality of Ahilyabai.

In the lead role, Shampa Mandal delivered a restrained yet powerful performance, capturing Ahilyabai’s resilience, compassion and unshakeable resolve. Her expressions, dialogue delivery and emotional precision made the character truly come alive.
Disha Gupta, as young Ahilya, added depth and charm through her expressive performance and graceful movements.

As Malharrao, Sharad Tyagi portrayed calm authority and dignified strength, leaving a lasting impact. Guneet Singh (as Khanderao) and Nirbhaya Kartavya (as Tukoji Rao, Vishwas Rao) brought emotional complexity and internal conflict to their characters with impressive conviction.

Despite the large ensemble, each artist—
Shikha Arya, Aryan Mavi, Gagan, Jai Prakash, Ankit Chaudhary, Aryan Singh, Mayur, Dhananjay, Sachin, Kritika Gaur, Ridhaan Gaur, Mohammad Siraj, and Ayushi Tripathi—maintained energy, rhythm and continuity throughout, helping the historical canvas unfold seamlessly on stage.

The backstage team added commendable depth to the production:

• Chandrakanta Tripathi’s costumes preserved historical authenticity,
• Tiara Tripathi’s choreography infused visual elegance and rhythm,
• Rajeev Ranjan’s music enriched the emotional atmosphere.

This production by Upstage Art Group, Delhi, stands as a testament to how research, sensitive writing and cohesive direction can transform history from something that is merely narrated into something profoundly experienced.
The play reminded the audience that Ahilyabai was not just a ruler—she was a true Lokmata, whose compassion and strength still resonate across generations

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 Review Based on a Conversation with Director Rohit Tripathi)

On 31st May 2025, the two-day theatre festival was organized by Sanskar Bharti, Panchkula, commenced with a powerful and evocative performance of “Ahilyabai Holkar” by Upstage Art Group at the Atma Auditorium of Jainendra Gurukul School, Panchkula. The play brought to life the extraordinary story of a visionary queen — a social reformer, protector of Dharma, and a skilled strategist — who rose above the constraints of a patriarchal society to lead her kingdom with wisdom, compassion, and unwavering moral strength.

More than a retelling of history, the production served as a mirror to contemporary society. It reflected timeless themes of women empowerment, religious tolerance, and justice-driven governance. Ahilyabai was not merely portrayed as a ruler, but as a “Lokmata” — the revered mother of the people — who embodied the balance between tradition and progressive change.

Director Rohit Tripathi, in a conversation following the performance, emphasized that the production aimed to present Ahilyabai’s life not as a distant legend, but as a living, breathing inspiration for today’s audience. His strong visual language, disciplined stagecraft, and seamless scene transitions gave the play a grand yet intimate presence. The actors’ coordination and spatial awareness maintained a fluid rhythm throughout, keeping the audience deeply engaged.

Playwright Mukesh Jha infused the script with emotionally resonant dialogues and a well-structured dramatic arc. Through Ahilyabai’s character, he challenged entrenched societal evils like the Sati tradition, the denial of women’s education, and the suppression of female agency. His writing was both poetic and purposeful.

Sanpa Mandal’s portrayal of Ahilyabai was nothing short of commanding. Her voice modulation, physical poise, and expressive gaze captured the grace, resolve, and inner turmoil of a leader burdened with duty.
Sharad Tyagi convincingly embodied Malharrao, lending gravitas to the fatherly mentor figure.
Divyanshu brought youthful intensity and idealistic conflict to the role of Khanderao, while Shikha Arya as Gautamibai added warmth and quiet strength.
The supporting cast — Nirbhay, Mohit Bajaj, Sahil Nirola, Vijay Kumar, Arun Amay, Piyush Dwivedi, and Priya Rai — performed their roles with commendable dedication and natural energy.

Costume design by Chandrakanta was both period-appropriate and visually impactful, grounding the characters in historical realism.
Rajeev Ranjan’s music score elevated the emotional cadence of the play, blending traditional motifs with a contemporary sensibility.
Lighting and stage design created striking tableaus, particularly in scenes depicting the royal court, battlefield, and moments of grief.

With an audience of over 500 in attendance, the performance concluded to a resounding standing ovation. This reception was not merely an appreciation of production quality, but a testament to how deeply the story resonated with the viewers.

“Ahilyabai Holkar” stood not simply as a historical drama, but as a powerful reminder of the enduring legacy of moral courage, cultural wisdom, and feminine leadership. It served as a beacon for modern India, where the values of compassion, discipline, and reform still need strong voices.

Rohit Tripathi and his team have not just staged a play — they have revived a legacy. Their effort ensures that the spirit of Ahilyabai Holkar will continue to inspire generations, both on stage and beyond.

---

(April 22, 2025 – Brahmapur, Odisha | National Theatre Festival by Odisha Sangeet Natak Akademi)

In a special conversation at the NSD, Rohit Tripathi, senior theatre practitioner and founder of Upstage Art Group, spoke about his recently staged play ‘Katha Ek Kans Ki’.

The play was presented on April 22, 2025, as part of the National Theatre Festival organized by the Odisha Sangeet Natak Akademi at Biju Patnaik Cultural Auditorium in Brahmapur, Odisha. Written by Padma Shri Daya Prakash Sinha and directed by Rohit Tripathi, the play reimagines the mythological character Kans in a contemporary socio-political context.

Padma Shri Daya Prakash Sinha has skillfully retained the essence of Kans while presenting his character with deep psychological layers—on one side, he appears as a ruthless, tyrannical ruler, and on the other, he emerges as a music lover, emotionally fragile, lonely, and vulnerable human being. This duality adds depth to the narrative, making the character complex and compelling. Through this mythological tale, the playwright reflects the contradictions, challenges, and dilemmas of our current times.

The role of Kans was portrayed with striking intensity by Sahil Singh Sethi, whose powerful stage presence left a lasting impression. The supporting cast—including Nitin Tyagi, Ujjwal Raj, Priya, Nikita Gupta, Abhishek, Arjun, Ritesh, Aryan, and Rajesh—also gave commendable performances. Backstage, Mukesh Jha contributed significantly to the smooth execution of the production.

During our conversation, Rohit Tripathi expressed that his commitment to theatre extends far beyond the stage. He shared that after the performance, when the return journey had to be arranged, none of the team had confirmed train tickets. In such a challenging situation, he personally arranged flight tickets for the entire cast and crew from his own funds. It is heartwarming to know that even today, there are directors who show such deep dedication not only to their art but also to their fellow artists.

Katha Ek Kans Ki is not just a mythological retelling—it is a relevant, thoughtful, and stirring theatrical creation that resonates deeply with the present.

On 26th April 2025, at the Sammukh Auditorium of the National School of Drama, New Delhi, the play “Jogiya Raag” was presented under the theatre festival “Katharang“, organized by the cultural organization Mailorang. Written by Vijay Pandit and directed by Prof. Devendra Raj Ankur, this production transformed a seemingly simple story into an extraordinary emotional experience on stage.

“Katharang” commenced on the same day with the stage being graced by the presence of senior theatre artist Mr. Amitabh Srivastava, who conducted the inaugural ceremony, and renowned literary figure Mr. Ashok Vajpeyi, who attended as the Chief Guest.

The story revolves around Savitri, a woman abandoned by her husband immediately after marriage as he renounces worldly life to become a hermit. Years pass as Savitri patiently waits for him, unwavering in her faith despite societal pressures. Eventually, in an act of poignant resignation, she accepts an unknown ascetic as her lost husband, surrendering herself to her destiny.

Nidhi Mishra, portraying the role of Savitri, delivered a truly exceptional performance. Her command over body movements, dialogue delivery, and the subtle expression of inner turmoil kept the audience deeply engrossed throughout the play. With remarkable ease and depth, she captured the complex emotions of hope, struggle, and despair dwelling within Savitri.

Mukti Das portrayed the character of Bal Mukund with great seriousness and authenticity. His restrained expression of internal conflict and the pain of renunciation, without falling into melodrama, added credibility and depth to his character. His dialogue delivery was composed and truthful, making his presence compelling on stage.

With only two actors on stage, multiple characters were seamlessly brought to life through masterful variations in posture, movement, and voice modulation. This technical challenge was executed with impressive smoothness, making the character transitions natural and believable.

The innovative use of a simple prop — a saree — deserves special mention. Throughout the play, the saree symbolically transformed — representing femininity, sorrow, or the complex dynamics of shifting relationships, enhancing the thematic layers of the production.

Selection of the music that was played in the play by Sneha Kumar, deepening its mood and emotional texture. Nitin Bharadwaj’s lighting design and its careful execution effectively elevated the story’s atmosphere, aligning each scene with its emotional tone.”

“Jogiya Raag” offered a profoundly moving theatrical experience. The balanced synergy of storytelling, direction, acting, and technical finesse elevated the performance to great artistic heights. The sensitive and sincere efforts of the team ensured that the audience remained deeply connected to the story from beginning to end.

This play is not merely the tale of Savitri’s endless waiting and loyalty; it is also a beautiful exploration of human emotions, faith, and the silent resilience embedded in life’s most difficult journeys.

All my life I have kept an open, inclusive lifestyle. I feel that all should feel welcome and at home as this is how I was raised. I was raised by very open parenting and a household where even strangers who were met for the first time found a room with bed and food. My parents welcomed all with open arms without the slight feeling of them being strangers.

However this does not seem to be the case today. That inclusion I saw or many would have seen is changing in todays time. What is interesting here though is, many while choosing to be exclusive to people but inclusive to strangers on the social media. I am amused to see this change that we are willing to be open to a complete stranger to someone on social media who could misuse your generosity while we refuse to let the real into our lives.

We are getting so disconnected with the real person and also not willing to welcome them into our hearts and heaths that we are creating a social cocoon around ourselves. How can we feel a human content in that I wonder? It will make us slowly into hermits with having friends with perhaps an synthetic generated text voice or an what we will paint as a perfect blend of a person with a hundred percent flawless face and body over the computer. We will spend hours on that since we will feel a strange sense of perfect fulfilment. Funny, we are only having conversations with our own voices of perfect words that the computer steals to generate a virtual reality which only entangles us.

I wish for the world to see the value in the closeness I hope to try to create with all. I hope that the myth of the perfect computer is destroyed within a body of an imperfect human. It is in that closeness I feel that we all can get to live within our truth. We will hence create a total willingness to be under no fallacy or mediated illusion of the other. Let us create only an life that creates a change of hope, connectedness and belongingness to all, with the help of the machine only and only to be help human kind.

When we first start watching the play Bhediya (written by Dinesh Agarwal and devised and directed by Binod Sharma and Hema Bhist) you feel that too many complex ideas are at interplay. What remains interesting at the core of the direction is that the farrago of complexities come together well in the end. One realizes soon interestingly that the script is in chapter formations, i.e. one chapter instead of leading to the next, had an end to itself while in the end all themes merge to highlight the main theme.

At the core this play talks about the restrictions that the society places on women, it ranges from a young girl ( Prithi, played by Rajni) getting raped by her boyfriend whose hapless parents show their true plight and loss ; the activist Malti Malini (Meenakshi Naithani) and the misogynistic reactions towards her, the ever presence of the television anchor and correspondent ( played by Aditya Deshwal and Sheel Kalia) who only wants to increase their TRP despite the occurrence of wild allegations made by the other panelists the submissive Iyer and the pontiff of all society’s bearing, the algebra baba ( Vyom Gupta).

At the other end of the spectrum, we see a Bhediya (Mohit) or a wolf that is roaming in the village of drunk Maheswar Mahto (Dinesh Agarwal) who is unable to protect his grandchild Nanku (Tanuj), or even his own jobless son Mangarua (Nitesh Raghav) from the clutches of this preying animal. The heart wrenching scene of losing her child, husband and father-in-law is witnessed by Chameli (played by Richa Arora) which is only used again to as piece of news item by Bhatuknath (Sheel Kalia).

We see the play ending in a huge climatic wave of voices of strong female powers that emerge to create a huge medley. The grand opus thus is to destroy all the grave concerns of society against the females. What remains as a point of interest is the way the grave ideas are displayed and enacted, which the director, Binod Sharma cleverly used in a sequential order with small scenes and larger scenes and an opus of females in the end.

Instead of using a single point of reference in the script, Dinesh Agarwal has intertwined many ideas, the rape of Rajni and the devastation of her mother Madhvi ( Nishta Sharma) and father Sadashay ( Jitender Singh); the everlasting huge presence of the media; the attack of a real wolf on a small child of a rural village depicting the plight of the villagers and in the finality the waving rise of womanhood in itself.

What impressed me was the use of televised narrations and the interaction of multimedia projected screens in the play. A special word must be given to Jitender Singh (Sadashay) and Nitesh Raghav (Mangarua) who pulled the act with great command of their acting skills as they had little dialogues. Little Nanku and Tanuj were a delight to watch, and Hema Bhist, Richa Arora and Nishta Sharma pulled me in their act.

Only one needs to look attentively at the technical of play as the lighting was choppy and so was the blocking too much centered. The stage could have been used in multiple formations despite the use of a projected screen. The songs could also have been used more appropriately with lights as well as the use of actors. Overall, the play Bhediya is indeed a good watch, and it brings a difference in style of scripting and direction. It marks a new way of looking at theatre and hence one should watch it as a mark of contemporary Indian Drama.

When one more year has finished in your life span and your birthday marks that celebratory day we realise many things. We come to see that life is neither too long nor it is too short, its just enough to be content in a day. The meaning of life should be seen within that day, the steps taken on that day should be enough to be carried forward. There is hence value in one, singular step.

When we live day to day we come to realise that we are not slighted in the least and words of today might echo the past ones. The last breaths of yesterday has given only new meanings today. When you realise how to contain yourself within one day without looking too far ahead you are only and only able to see the rays of the rising sun of tomorrow.

I must say that I have learnt to live day to day without creating too many plans for the future. This has given me the wings that I need to fly higher as I do not fear the future nor feel sorry for the past. I simply give myself just one task to perform per day. I give vale in the singular without the wanting of the plural.

There is value in slow downing to a simple one task. I make sure that I only do one only chore and I define that to my passion, hobby and profession. That one task is always related to theatre, it could be reading a book, watching a play, talking to a student, writing a blog or a paper, or finding a grant. I do not try and push myself beyond that singular task as it makes me content and happy to have finished it in time. This makes me look forward only to the next few days to come.

I know my singular voice of today will turn into a multitude of voices tomorrow. This will help me leap into the golden rainbow to bring back dusts of diamond, gold and silver that will adorn not only me but all. Lets all slow dance. Lets try and be content in one, only to sing and raise our voices to the future sun, to dream that one common dream and share the common glories that are thus sure to come.