A scene from Sapon Bibhranti aroo Kesaikhanti. A Telegraph picture

There is hardly anything new to portray in a play dealing with class conflict.

But where Kushal Deka’s Sapon Bibhranti aroo Kesaikhanti scores is in its dramatic moments. For instance, two actors acting like puppets go to show the rich pulling the strings and the poor dancing to their tune. The play, which goes through the entire gamut of emotions from the dreams, fantasies, sorrows and sufferings of the fishing community, is about a revolt by the community near Kesaikhanti fishery.

Poverty-stricken, the fishermen brew country liquor to escape from daily drudgery. There is the mahaldar, the owner of neighbouring fisheries, who takes advantage of the unorganised fishermen and tries to take over Kesaikhanti. Sanatan, an educated youth, comes to their rescue as a messiah. He organises the fishermen and dares them to dream. The dream hits a wall called the mahaldar. The rich fisheries owner spreads the word that if anyone tries to take over Kesaikhanti, he would invite the wrath of god. The poor villagers naturally turn into puppets in the hands of the mahaldar.

In the end, Sanatan makes them see sense.

The director designed the acrobatics perfectly. Rituparna Phukan as the mahaldar needs special mention.

The music was a little loud and in some scenes, unconvincing. The acoustics was also indistinguishable in parts. Apart from these small flaws, it was a good production by the members of Pathar from Duliajan.

The play was staged in the District Library auditorium in Dibrugarh on September 10.