Narayan Sanyal’s Biswasghatak (1974) — a popular work of science fiction in Bengali that featured on the bestseller list for decades — has seen a stage adaptation in Calcutta. Based ...

Gobardanga Naksha’s 8th National Theatre Festival (December 23-27, 2020) ended with Pandemic, a home production. This devised theatre piece tries to fathom the changing dynamics of a world comin...

Performances that approximate perfection are rare; going out on a limb, this reviewer will claim for Virahagatha, produced by Chidakash Kalalay and created by Piyal Bhattacharya, the ‘tour de fo...

A linguistic slip recurred after I had experienced The Last Poet. It overlapped, entwined with and often got displaced by ‘The Lost Poet’! Every time I corrected myself, the slip baff...

Politics of location is fast emerging as the signpost of contemporary Indian theatre. With the urban proscenium spaces bearing the brunt of the pandemic, many suburban and rural spaces are offering an...

Chetana reaffirmed its commitment to political theatre by premiering two productions on November 22, its foundation day, at the Academy of Fine Arts. Whereas Girgiti — adapted from a S...

Calcutta is never tired of Waiting for Godot. There have been quite a few Bengali adaptations of this Samuel Beckett classic since the 1970s. While most played it straight, some went for adaptati...

The nightmarish 2020 has dealt Bengali theatre a body blow by abruptly removing Prasenjit Bardhan from the earthly stage. The punishing schedule and rather inexplicable death of this actor, choreograp...

It was refreshing to watch a motley para crowd assembling in a quiet afternoon. With the semi-circular performance space casually laid out on the club lawns, and the audience surrounding it, Swabhab &...

With unlock restrictions keeping Calcutta theatre out of proscenium stages, new non-proscenium venues are being discovered. The Salt Lake-based National Mime Institute, hitherto not really a hub of th...