Many times we mistake kindness as acts of mercy. Mercy and kindness are totally two different things. Acts of kindness never needs definition nor do they need validation nor do they need gratitude. It is an unconscious value that one performs daily without expectations of someone showing gratitude or even saying thank you. The moment we expect a response from our act of kindness the value of it is lost forever.

I see acts of kindness everywhere, a kind teacher who decides not to shout at her pupil, a friend who might decide to come and meet her sick friend or a employer giving new clothes to his workers. They do these acts as a value not because of the satisfaction of a ” thank you ” or someone saying ” we are in gratitude to you” but this is because they are not scaling it in utility. If one expects gratitude, then one is only displaying his ego and thus placing himself much higher than the receiver, while true acts of kindness sees all as equals.

Mercy is an act that is deserving of sincere appreciation. Its a rare act, I read of a wife forgiving the killer of her child, that is true mercy. When the president of our country decides on clemency of hanging that is an true act of mercy, when an act of assassination is forgiven that is true mercy and praise worthy of being seen as beyond mere acts of kindness.

Let us stop once to re examine our own deeds and see what are we looking for, if is it praise behind the act of kindness it is unworthy in value. The moment we do not put any value behind the act, we are truly kind. That is worthy of praise as we ourselves do not know when we were kind.

We are all just an idea a way, a thinking of a new concept, an novelty which we can imagine which we wish to share the world with. However something stops us, is it fear of the unknown, of loss, of insecurity I do not know, but we stop many times mid way. At that those moments of doubt we tend to consult the cynic who has been with us through out. That scornful friend proves right to us at that time and we tend to overlook the idea that gave us so much joy before and move into the hands of the suspicious player with much ease.

In that moments when we slip into that comatose stage of despair all we need is to shake our inner self doubt and go back to the dream that dwells within us. Many climbers have returned from the base camp of Mount Everest without thinking only because of the fear of the climb. It is the fright of the vault that will kill us and not the jump into the belief that you will win. The moment we feel insignificant we have lost the game. The page turner is the intention to win, the affirmation of the judgement that what you are feeling and what you are about to do, is the truth and only truth.

No one can hold your hand in your resolve to find significance in what you are teaching yourself, as you are the pupil and you are your guru. Caper into the flight, attacking all doubt only to skyrocket yourself higher and higher. Let us hurdle and free ourselves of all chains of uncertainty and find confidence in that belief which is our truth and only truth.

We often are led to think or we lead ourselves to imagine that death comes to destroy us and the person who meant the world to us has taken everything which we called ours. However do we ever stop to think to go beyond the departing and make us truly learn to live life and enjoy the living instead of mourning? I am not trying to negate memories but trying to rejoice in that memory of that beloved. The death reminds us that we need to belong more and more into the realm of the positivity of that earth it was made to rest. The earth now grows trees and flowers whose sweet scent is enough to fill our hearts with joy.

I chose before in my life to see destruction in death but when I saw life I was awoken to the needs of life and living. I see my world as pillow soft rather than hard as rocks and every step as taking me to soar beyond my dreams into a magical world I wish to create. I may be mocked, if wishes were horses then beggars would ride them, however my dream is not an imaginary horse but a strong step as building blocks to my heathen.

We need therefore to see importance of a death that is responsible for creating life, a life that will take us into another realm of cultivating , of celebrating, of curating the new and the born. Let us see this vitality in a death not as decay but as dissemination of power in the unique fostering care and compassion once again.

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बॉलीवुड इंटरनेशनल फ़िल्म फेस्टिवल अवॉर्ड नाइट: मालावाज़ी, चिड़िया और ड्रैगन हार्ट ने मारी बाज़ी

मुंबई, 12 से 14 दिसंबर बॉलीवुड इंटरनेशनल फ़िल्म फ़ेस्टिवल (BIFF) का छठा तीन दिवसीय आयोजन इस वर्ष भी मुंबई में आयोजित किया गया। बता दें कि यह आयोजन स्टेज ऐप के प्रायोजन तथा अपने सहयोगी ओमपुरी फ़ाउंडेशन व पहल फ़ाउंडेशन के संयुक्त तत्वाधान में 12 से 14 दिसम्बर 2025 तक वेदा कुनबा थिएटर, अंधेरी वेस्ट, मुंबई में सम्पन्न हुआ।

12 दिसंबर को होने वाले पहला दिन महिलाओं को समर्पित रहा, जिसमें पूरे दिन स्त्री विषयक महत्वपूर्ण एवं प्रभावशाली फ़िल्मों का प्रदर्शन किया गया। सबसे पहले प्रतिभा शर्मा की अनेक पुरुस्कारों से सम्मानित आमो आखा एक से डॉक्यूमेंट्री का प्रदर्शन हुआ। आगे मशहूर डायरेक्टर अनुभव सिन्हा द्वारा निर्देशित फ़िल्म थप्पड़ दिखाई गई। फ़िल्म के बाद अनुभव सिन्हा और धर्मेंद्र नाथ ओझा के बीच फ़िल्म निर्माण तथा इसके विषय पर महत्वपूर्ण चर्चा हुई। लंच के बाद नवीन अग्रवाल द्वारा निर्देशित फ़िल्म ज़िंदगीनामा प्रदर्शित की गई। फिर धर्मेंद्र नाथ ओझा द्वारा फिल्म राइटिंग पर मास्टरक्लास आयोजित की गई। इसके बाद सीमा भार्गव पाहवा द्वारा निर्देशित फ़िल्म रामप्रसाद की तेरहवीं दिखाई गई। दिन का समापन सीमा कपूर द्वारा निर्देशित फ़िल्म हाट द वीकली बाज़ार के प्रदर्शन से हुआ।

मुंबई, 13 दिसंबर, बॉलीवुड इंटरनेशनल फिल्म फेस्टिवल का दूसरा दिन क्षेत्रीय और देश विदेश की सामाजिक और सांस्कृतिक फिल्मों के नाम रहा। सबसे पहले समारोह का आरम्भ हरियाणा की लाजवाब फ़िल्म चिड़िया से हुआ जिसको डायरेक्ट किया निर्देशक संदीप सभरवाल ने। फिल्म प्रदर्शन के क्रम में आगे अंतरराष्ट्रीय डॉक्यूमेंट्री ‘टुमैनी फेस्टिवल’ दिखाई गई, जिसके द्वारा अफ्रीका में एक विशेष जाति के लोगों के सांस्कृतिक पहलुओं को जानने और समझने का अवसर मिला। इसको डायरेक्ट जर्मनी के रूपर्ट पोएशल ने किया है। इसके पश्चात प्रसिद्ध अभिनेता रघुवीर यादव के साथ एक विशेष मास्टर क्लास का आयोजन हुआ,इसके पश्चात प्रसिद्ध अभिनेता रघुवीर यादव के साथ एक विशेष मास्टर क्लास का आयोजन हुआ, जिसमें उन्होंने अपने अभिनय अनुभव और सिनेमा की बारीकियों को साझा किया। कार्यक्रम में आगे अद्रिजा डे निर्देशित फिल्म ‘घर’ का प्रदर्शन हुआ। मानवीय और पारिवारिक मूल्यों पर बनी इस शॉर्ट फ़िल्म को वहाँ उपस्थित दर्शकों का भरपूर प्यार मिला।
दोपहर बाद के सत्र में बोबन गोविंदन द्वारा निर्देशित फिल्म ‘मालावाज़ी प्रदर्शित की गई। जिसने दर्शकों की ख़ूब तालियाँ बटोरी। इसके बाद ऐना बोल्मार्क मार्क की फिल्म ‘वॉटर: द कंडक्टर ऑफ लाइफ’ ने दर्शकों को प्रकृति और जीवन के गहरे संदेश से रूबरू कराया। शाम के सत्र में इसामु इमाके द्वारा निर्देशित अंतरराष्ट्रीय फिल्म ‘ड्रैगन हार्ट’ दिखाई गई। इसके बाद जॉन एइनार्सन गुस्ताफसन की फिल्म ‘अनऑर्गैज्मिया’ ने दर्शकों का ध्यान खींचा।
आगे के कार्यक्रम में अद्वैत धावले निर्देशित शॉर्ट फिल्म ‘फिंगर रिंग’ प्रदर्शित हुई, जबकि संगीत प्रेमियों के लिए अब्दुल सलीम लोधी द्वारा निर्देशित म्यूजिक वीडियो ‘गुज़ारा’ आकर्षण का केंद्र रहा। दिन के अंतिम चरण में अक्षय भारद्वाज की फिल्म ‘बत्तो का बुलबुला के साथ संपन्न हुआ।

तीसरे दिन 14 दिसंबर का आगाज़ हरियाणवी फीचर फ़िल्म ‘वनवास’ की स्क्रीनिंग के साथ किया गया। आगे शॉर्ट फ़िल्म नज़रिया और फिर ‘डेविल्स लिस्ट’ दिखाई गई। इसके बाद एक संगीतमय प्रस्तुति फेस टू फेस पेश की गई। कार्यक्रम आगे बढ़ा तो मुस्तफा-द स्टोरी ऑफ़ ए टाइगर फ़िल्म दिखाई गई। उसके उपरांत मेहता एंड कंपनी और रद्दी फ़िल्मों का प्रदर्शन किया गया। कार्यक्रम के अगले चरण में ओमलो और द लेडी बर्ड- एक से अनेक प्रस्तुत की गईं। कार्यक्रम की दिन का समापन चिल्ला खादर- नाव पर ज़िंदगी के प्रदर्शन के साथ हुआ। आज के दिन की ख़ास उपलब्धि एक्टर अखिलेन्द्र मिश्रा और कास्टिंग डायरेक्ट मुकेश छाबड़ा जी के साथ मास्टर क्लास हुई जिसमें उन्होंने कास्ट, नाटक थियेटर और फिल्मों से जुड़ी विभिन्न पहलुओं पर प्रकाश डाला

फेस्टिवल में फिल्मों की स्क्रीनिंग के बाद बेहतरीन कैटेगरी को अवार्ड देने का सिलसिला शुरु हुआ जिसके अंतर्गत मोबाइल फिल्म कैटेगरी में ‘लॉस्ट लवर’ को बेस्ट मोबाइल फिल्म का अवार्ड मिला। इसी में कैटेगरी में (डॉक्यूमेंट्री) ‘सिरेमिक ट्रांसपोर्ट वर्कर्स’ के लिए बेस्ट डायरेक्टर का अवार्ड याओलिसैहू को दिया गया। ‘पॉप्ड ऑर अलाइव’ को बेस्ट एनीमेशन फिल्म का सम्मान मिला, जबकि ‘लेस’ के लिए प्रबीर कुमार सामंता को बेस्ट एनीमेशन डायरेक्टर का अवार्ड मिला। म्युज़िक वीडियो में ‘फेस टू फेस’ के लिए संगीत वीडियो उसके डायरेक्टर डैनिएले इपोलिटो और इलायजा निगासी को अवार्ड दिया गया। वहीं बेस्ट सिंगर का अवार्ड ‘गुज़ारा’ के लिए डायरेक्टर अब्दुल सलीम लोधी को दिया गया। स्टूडेंट्स फ़िल्म इंडियन कैटेगरी में ‘घर’ को बेस्ट स्टूडेंट्स फ़िल्म का अवार्ड जिसका निर्देशन अद्रिजा डे ने किया।
वहीं बेस्ट स्टूडेंट्स फ़िल्म डायरेक्टर अवार्ड ‘शिवि घाखेर’ को उनकी फिल्म ‘द लेडी बर्ड -एक से अनेक’ के लिए तथा क्षितिज अरोड़ा को उनकी फिल्म ‘चिल्ला खादर: नाव पर ज़िंदगी’ के लिए संयुक्त रूप से प्रदान किया गया। इसी कैटेगरी में बेस्ट एक्टर के लिए कृष्णन नाटक को उनकी फिल्म ‘बत्तो का बुलबुला और विंडो’ के लिए अवार्ड मिला वहीं बेस्ट एक्ट्रेस के लिए आयुषी सयाई को ‘हाफ सैलरी’ और सायरा बानो को फिल्म ‘मिराज’ के लिए संयुक्त रूप से अवार्ड दिया गया।
स्टूडेंट्स फ़िल्म फॉरेन कैटेगरी में ‘चिल्ड्रेन ऑफ द लैंड’ को बेस्ट फ़िल्म का अवार्ड मिला। बेस्ट डायरेक्टर का अवार्ड ज़ैकरी ज़ोउ को उनकी फिल्म ‘सेआंस ऑफ लाइट’ के लिए प्रदान किया गया। इसी कैटेगरी में बेस्ट एक्टर का अवार्ड झांग शुआन को उनकी फिल्म ‘द डीप वाटर आर’ के लिए दिया गया। वहीं बेस्ट एक्ट्रेस का अवार्ड एकातेरिना रुन्त्सिस को उनकी फिल्म ‘रेज़िलिएंस’ के लिए मिला
आगे शार्ट फ़िल्म की बात करें तो फ़िल्म ‘रद्दी’ के लिए डायरेक्टर ईशान सिंह को अवार्ड के लिए चुना गया। बेस्ट डायरेक्टर का अवार्ड रोहित सेन को उनकी फिल्म ‘मेहता एंड कंपनी’ के लिए दिया गया। बेस्ट एक्टर का अवार्ड संजय मिश्रा को ‘नज़रिया’ के लिए तथा पंकज तितोरिया को ‘धूमिल ’ के लिए संयुक्त रूप से प्राप्त हुआ।
बेस्ट फीचर फिल्म कैटगरी में ‘मलवाज़ी ’ के लिए डायरेक्टर बोबन गोविंदन और ‘चिड़िया के लिए डायरेक्टर संदीप सबरवाल को अवार्ड दिया गया। वहीं बेस्ट डायरेक्टर के लिए भी बोबन गोविंदन को ‘मलवाज़ी के लिए अवार्ड दिया गया। इसी कैटेगरी में बेस्ट एक्टर के लिए जगबीर राठी को उनकी फिल्म ‘बैंगन’ के लिए अवार्ड मिला और बेस्ट एक्ट्रेस के लिए गीता सरोहा ने फिल्म ‘वनवास’ के लिए अवार्ड अपने नाम किया।
बेस्ट फॉरेन फीचर फिल्म कैटेगरी में में ‘ड्रैगन हार्ट – एडवेंचर्स बियॉन्ड दिस वर्ल्ड’ को बेस्ट विदेशी फीचर फिल्म का सम्मान मिला, जिसका निर्देशन इसामू इमाकाके ने किया। वहीं बेस्ट डायरेक्टर के लिए अवार्ड जोन एनार्सन गुस्टाफसन को उनकी फिल्म ‘एनॉरगैज़्मिया’ के लिए मिला।
इसी फिल्म के लिए मैथिल्ड वार्नियर को बेस्ट एक्ट्रेस तथा एडवर्ड हेटर को बेस्ट एक्टर के अवार्ड से नवाज़ा गया।
बेस्ट शॉर्ट डॉक्यूमेंट्री के अंतर्गत ‘मुस्तफ़ा-ट्रू स्टोरी ऑफ अ टाइगर’ के लिए डायरेक्टर अनुश्री शुक्ला को अवार्ड दिया गया तथा लॉन्ग शॉर्ट कैटेगरी के लिए ‘माई नेम इज़ खत्री’ के डायरेक्टर दिलीप खत्री और ‘तुमैनी फेस्टिवल’ के लिए डायरेक्टर रूपर्ट पोएश्ल को अवार्ड से नवाज़ा गया।
लॉन्ग शॉर्ट फ़िल्म कैटेगरी में ‘फिंगर रिंग’ को बेस्ट फ़िल्म का पुरस्कार मिला, जिसका निर्देशन अद्वैत सतीश धवाले ने किया। इसी फ़िल्म के लिए बेस्ट डायरेक्टर का अवार्ड भी इन्हीं को दिया गया। बेस्ट एक्टर के लिए राहुल फळतणकर को ‘फिंगर रिंग्स’ के लिए चुना गया जबकि बेस्ट एक्ट्रेस का अवार्ड प्रियाल सिंह को ‘शिमाज़’ के लिए प्रदान किया गया।
फाउंडर चॉइस अवॉर्ड के अंतर्गत बेस्ट डायरेक्टर के लिए राह-ए-नानक, बेस्ट एक्टर के लिए देवदासन चेरेवाठके तथा बेस्ट डॉक्यूमेंट्री मेवात व बेस्ट फिल्म ओमलो को चुना गया।

समारोह का उद्घाटन मशहूर बॉलीवुड निर्देशक अनुभव सिन्हा ने दीप प्रज्ज्वलन कर किया और फिल्मों की स्क्रीनिंग के अलावा पहले दिन ओमपुरी फ़ाउंडेशन की फाउंडर नंदिता पुरी और बिफ़्फ़ की ओर से मोहम्मद ज़ीशान अय्यूब को ‘बेस्ट एक्टर ऑफ द ईयर’ और सुशांत सिंह को ‘एक्सीलेंस इन सिनेमा’ के पुरस्कार से सम्मानित किया गया। समारोह में कुछ चुनिंदा लोगों को गेस्ट ऑफ़ ऑनर के सम्मान से नवाज़ा गया। जिसमें सुपवा के वी सी अमित आर्या व हरीओम कौशिक स्टेज ऐप से प्रवीण सिंघल चारु शर्मा राजेश खोकर, निर्देशक अनुभव सिन्हा, सिंटा के विन्दु दारा सिंह, डायरेक्टर सीमा भार्गव पाहवा, हाट की डायरेक्टर सीमा कपूर, अभिनेत्री प्रेरणा अग्रवाल, डायरेक्टर नवीन अग्रवाल, नंदित पुरी, ईशान पुरी, राइटर धर्मेंद्र नाथ, संदीप शर्मा, धर्मेंद्र नाथ ओझा, सुमित्रा पेडनेकर, मेरियाने बोरगो का नाम मुख्य रूप से शामिल है। इस तीन दिवसीय कार्यक्रम में यशपाल शर्मा, प्रतिभा शर्मा, विन्दु दारा सिंह, रघुवीर यादव, अखिलेन्द्र मिश्र, पूनम ढिल्लन, पद्मिनी कोल्हापुरे, रेखा गौड़, संजय मिश्रा, सीमा भार्गव, दीपक पराशर प्रेरणा अग्रवाल, सुपवा से अमित आर्य; हरिओम कौशिक, स्टेज ऐप से प्रवीण सिंघल, चारु शर्मा, राजेश खोखर, नवीन अग्रवाल धर्मेंद्र नाथ ओझा, मैरिएन बोर्गो, गैरेट होंगो, ऐना बोल्मार्क विनय ठाकुर, बिफ्फ के ज्यूरी सदस्य राजीव भाटिया, वंदना भाटिया, पवन शर्मा, गीता गुहा, गीताांजलि सिन्हा, रामपाल बल्हारा, घनश्याम शर्मा, अविनाश दास, जगबीर राठी, समेत मुंबई और हरियाणा सिनेमा जगत की जानी-मानी हस्तियाँ, फ़िल्मकार, तकनीशियन और उभरते कलाकार इस प्रतिष्ठित आयोजन में सम्मिलित हुए। आज के दिन सोनिया सरताज ने अपने बेहतरीन डांस और ऋषभ पांचाल, आकाश शर्मा ने अपनी लाजवाब सिंगिंग से हॉल मे मौजूद सभी को थिरकने और झूमने पर मजबूर कर दिया। कार्यक्रम मे बिफ्फ की पूरी टीम को भी सम्मानित किया गया। इस तीन दिवसीय कार्यक्रम का बेहतरीन संचालन तंज़ीला शेख और दलबीर सिंह बंजारा ने किया।

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.

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.