A scene from the play, Maanuhar Natun Ghar. Picture by Eastern Projections

Amid a series of plays staged at the 12th Natasurya Sowarani Naat Samaroh at Rabindra Bhawan from July 31 to August 6, Giyas Uddin Ahmed’s Maanuhar Natun Ghar proved to be an exception for its unusual content and complex style of presentation.

Instead of a run-of-the-mill content dealing with problems of society or the milieus and moods of different human behaviour, the play has projected some new dimensions of the life of the modern man living amid turmoil, confusion, anguish and deprivation.

Written and directed by Giyas Uddin Ahmed, the play rotates around five characters: an old man Potit Pavan, his widowed daughter-in-law Mamata, granddaughter Taani, business tycoon Ramchandra and Taani’s boyfriend Sourabh. As the story goes. Taani’s father, Mrinmoy, a Leftist, was killed 16 years back. A distraught Potit Pavan finds in Taani the only inspiration to live on. Taani, sometimes, on stormy, dark nights, feels the presence of her father’s soul. Mamata is furious at the way their tenant Ramchandra is running the guesthouse which she helrself has rented out. Taani also loathes Ramchandra for his greed.

Though Sourabh provides Taani the much needed mental support, he soon bows before Ramchandra’s tricks. Finally, Taani regains her own strength to fight against the social evils and also to find her father’s murderer. And this provides old Potit Pavan with new hope to spend his last days.

The play is full of ample scope for unusual directorial treatment and Ahmed attempts to exploit those with his own limitations. The only set of the play was absolutely perfect and art director Nuruddin Ahmed deserves credit for it. Though most part of the background score seems flat, the production was never found to be loaded with unnecessary musical sounds.

On the acting front, seasoned Upakul Bordoloi as Potit Pavan has come up with an absolutely measured and mature performance. Talented Nishita and Mitali Baishya Sarma were also impressive.