The literary tradition of ferreting out little-explored characters from the complex woodwork of larger-than-life epics and exposing them to public glare through myriad interpretations in contemporary prose and poetry has always made intriguing theatre material. Naba Mayukh Natya Sangs-tha?s Urmila Upakhyan (Ma-dhusudan Mancha, March 2) was no exception.

The play cast the spotlight on a comparatively under-examined and, as director Rishi Mukhopadhyay puts it, ?largely ignored? character from the Ramayana ? Laxman?s wife, Urmila. Traditionally-held, almost dogmatically-accepted interpretations of characters, their motives and their relationships with one another were challenged and redefined through the monologues, dialogues, song and dance, the frustrations, anger and resentment of a woman whose husband in his obsessive love and the duty toward his elder brother, Ram, neglected her since the night of their wedding. Swagata Mukherjee as Urmila (in picture) and Dipika Mukherjee as the machinating chamber maid Manthara did a commendable job. But the portrayals of Sita, Kaikeyi and Mandabi lacked the same maturity. Mukhopadhyay should have paid attention to these details. The sets, with diyas, subdued lighting and chanting of slokas, were evocative of the period under consideration.