The programme began without an announcement. All the lights inside Dibrugarh District Library auditorium went off exactly at 6.30pm and before the audience could react, 30 actors stormed into the hall from all four doors chanting “Maari jaao mori jaao guru wreen shuji jaao”.

The lights came on slowly and the actors jumped onto the stage in a synchronised fashion to perform a scene from playwright-director Munin Bhuyan’s much-acclaimed play Jorow Rowaa Porojaa.

The occasion was Bhuyan’s fourth death anniversary on September 9, and the mixed variety of programmes proved once again the playwright’s versatility.

The “shock” introduction by the Dibruagarh-based troupe Aakharaa Ghar over, it was time for the formal inauguration.

Bhuyan’s wife, Subarna Bhuyan, lit the lamp and inaugurated the programme.

A welcome note for a host of dignitaries like Gautam Bora, Hiren Gohain, K.K. Bora, Pona Mahanta, Champak Borbora, Ratan Saikia and Soumyadeep Dutta followed.

The performances were a mixed bag, containing three scenes from two of Bhuyan’s plays, three creative dance items based on his songs, three short skits on his recitation and a short documentary, of course, on the writer-director.

Of these, the first one that deserves mention is the documentary, A Tribute to Munin Bhuyan, by Gautam Bora.

Instead of narrating the biographical details of Bhuyan’s life, Bora chose to explore the playwright’s creative genius instead. It was a truly remarkable tribute.

Diyon Pauma’s mime based on Bhuyan’s recitation of Jyotiprasad Agarwalla’s Khajana Sidhaat Eta Dofolaar Khong caught the audience’s imagination.

With the costume of a Mising farmer and subtle but sensitive facial expressions and measured physical movement, Pauma proved his command over the stagecraft.

Two young dancers from Sivasagar, Devajani Sarma and Sangeeta Runumi Barua, then performed Bhuyan’s Mohasagarar Soru Dhowbore.

A dance by a group of teenagers to Kihe No Paaisile Oi Gostolor Bihuloi Jaaboloi followed. Finally, artistes from Natyapeeth, Sivasagar enacted a scene from Haati Aaru Phaandi — an example of pure passion on stage.