All Plays

Director                 : Owais Md. Khan

Writer                    : Evan Khan

Group                    : N.S.D. Students Diploma Production

Language              : Hindi

Duration                : 80 mins

Date                       : 02 February 2025

Play : MURDA GHAR

The play presents the complexities of society, war, and humanity from a deep and existential perspective. In the play, spread over five scenes, a character named Martin plays the role of a clown and communicates directly with the audience, which makes the events of the play even more effective.

The story begins with a character named Isaac, who is sleeping in a chair in a closed morgue. Suddenly, there is a knock on the door and Ivan enters, revealing that war is raging in the world and winter is spreading everywhere. In the midst of war, hunger, and winter, comes Albert’s entry, who analyzes who can emerge victorious in the upper, middle, and lower class struggle.

Albert emerges victorious after the choices made by all three characters, but then comes a postman, who reveals Albert’s sins. Albert pleads his case and hires the postman to work in the morgue. The postman arrives with a letter and reaches a turning point, when he decides that he will stay in the morgue and repair the effigies.

The climax of the play comes when Martin returns from abroad after snatching a bottle of wine from a hungry child. Everyone is overwhelmed by hunger and tries to persuade Evan to eat. Finally, when everyone is ready to eat it, another Ivan’s inhabitant arrives, and the play ends where it began from.

The play highlights the struggles of life, hunger, politics, science, and humanity from a highly classical and existentialist perspective. Through dialogues, the play presents an in-depth analysis of the ironies, decisions, and consequences of human civilization, and the same makes it a unique experience of drama.

MONGLEE (Based on Kherai Puja)

Director                              : Pabitra Rabha

Group                                 : Bhartendu Natya Academy, Lucknow

Language                            : Bodo

Duration                             : 80 mins.

Date                                    : 01 Feb 2025

Play : Monglee

Awi Bihamjw Monglee

Boha Thang Khw Nwng Rotho

 Dubribariao Agan Nudwgmwn

 Balabariao Gwmabai Ai Gwmabai  (An Assamese Ritual Song)

Monglee, the youngest amongst the five daughters – in law of an old man, was a free spirited girl who used to sing and roam freely amidst the nature.

One day, while she was out in the wild, the old man began searching for her everywhere. That old man, known as Zaraphagla, fell asleep during his search and sees an ancient timeless dream, which is known in the folklores as the creation of Kherai.

Kherai has been significant from that time onwards as the main ritual of the indigenous Bodo community which is transmitted from generation to generation. Depending on this story, with due reverences to that ancient dream, the social behaviour, rituals, customs and the culture of the community evolve. The play comprises of different characters that present myriad shades of human behaviour. The folklore is rooted in the collective consciousness of the community even in this fast-paced technological age.

CHARANDAS

Director                              : Bidisha Chatterjee

Writer                                 : Habib Tanvir

Adaptation                          : Ramaprashad Banik & Biswarup Chattopadhyay

Group                                 : Dum Dum Biswarupam, Kolkata

Language                            : Bengali

Duration                             : 90 mins.

Date                                    : 07 Feb. 2025

Play : CHARANDAS

This production is an adaptation by Shri Ramaprasad Barik of the landmark play, Charandas Chor, written and performed by renowned dramatist, director and actor, Habib Tanvir, who has evolved the story from a Rajasthani folklore.

Charandas is a thief but not a liar who does not deviate from his commitment. Stealing is an action and action is religion. So, even though Charandas did not abandon his work, the vows he made to the Guru follows him till the end of his life. Charandas made four vows to the Guru – ‘he will never eat on a golden plate’, ‘he will never ride in a procession on the back of an elephant’, ‘he will never marry a princess’ and ‘he will never become the king of any country’. King & a thief are almost synonymous as they both loot people in their own ways. But for a thief to become a king is dramatic in its own. But ironically, to Charandas all these offers actually came. But he denied all to keep his vows made to his Guru.

Disobeying royal orders by refusing hospitality, and by spurning the princess’s marriage proposal, Charandas was killed on her orders as she got annoyed due to the rejection. But Charandas never deviated from his vows even if he has to sacrifice his life.

BURNT FLOWER ON THE BED

Director                              : Dilip Manjhi

Writer                                 : Ugo Betti

Group                                 : NSD Students’ Diploma production

Language                            : Hindi

Duration                             : 78 mins

Date                                    : 01 Feb. 2025

Play : BURNT FLOWER ON THE BED

The Burnt Flower on the Bed is a compelling political drama that delves into the intricate interplay of power, conviction, and the human spirit. Beyond its political narrative, the play sheds light on the personal stories hidden beneath the surface, revealing triumphs, struggles, and moral dilemmas.

The play challenges audiences to reflect on the complexities of politics—not merely as a system, but as a deeply human endeavour fraught with ambiguity and emotional stakes. It offers a lens to examine modern societal issues and inspires thought-provoking dialogue about our collective existence.

Personal and political dimensions intertwine, exploring the grey areas of human nature with depth and nuance.

BRACHLAND- FALLOW LAND

Director                              : Julia Strehler

Writer                                 : Wenn Orte Sprechen Ensemble

Adaptation                          : Sebastian David

Group                                 : Wenn Orte Sprechen, Germany

Language                            : German

Duration                             : 85 mins

Date                                    : 06 & 08 Feb. 2025

Play : Brachland- Fallow Land

The play ‘Brachland’ tells the story of an old cowshed and its inhabitants. People and animals have their say and tell of the major upheavals, injuries and challenges that arose during the transition from a socialist to a capitalist social system. Brachland is also a biographical, personal story of a young woman and her father. She has to undergo a complicated heart operation as a baby and he has to prove himself as the manager of the cowshed with 700 cows. Then comes the political change, where many things collapse, including the father’s career and livelihood. Marina, the young woman, realises her dream of acting in the theatre and experiences the excessive world of urban culture. She becomes a pioneer in cultural work in the countryside, in her father’s old cowshed. But the film also tells the story of the cows, as suffering creatures of human ‘civilisation’.

BIDROHI JONA

Director                              : Dakshina Sharma

Writer                                 : Golap Chandra Borah

Group                                 : Silpa Kanon, Assam

Language                            : Assamese

Duration                             : 87 Minutes

Date                                    : 08 Feb 2025

Play : Bidrohi Jona

The play BIDROHI JONA is a famous play based on an Assamese ballad ” JONA GABHORUR GEET”. The play is written by Late Golap Chandra Borah.

During the medieval period, the sutiya Kingdom of Assam had a princess named JONA and this ballad narrates the tale of her marriage with a Kachari prince GOPICHAN. “BIDROHI JONA” is based on this traditional folk ballad from North-east India. The ballad of JONA GABHORU tells the story of princess JONA who is willing to marry the prince who can give answer to her three particular questions related to patriarchy.

The dramatist uses this folk ballad as an instrument of Women emancipation and makes the theme of drama very modern. Princess JONA and her friend MALATI are revolutionary characters. After the marriage of JONA to prince GOPICHAN, she realizes that GOPICHAN is also the representative of patriarchal society and along with her mother-in-law try to dominate her. Now JONA has come out of the marital knot and starts her new journey in search of a ‘man’ in real sense of the term.

The beautiful melody and tune of the ballad is used by the chorus which makes the whole drama lyrical. BIDROHI JONA is presenting the traditional ballad along with its tune and at the same time it is a modern drama to raise questions about rights of women.

BIDESIYA

Director                  : Sanjay Upadhyay

Writer                     : Bhikhari Thakur

Group                     : Nirman Kala Manch, Patna

Language                : Bhojpuri and Hindi

Duration                 : 95 minutes

Date                        : 29 January 2025

Play : Bidesiya

Hey, sir, when my friend praised Calcutta, our hero got excited to see Calcutta, but the Mahawar on our heroine’s feet had not even dried when the moment of separation came up! And on top of that, it was in the air that there is a lot of black magic in the east, how to allow one to go there? But nothing worked against the stubbornness of groom/husband. Calcutta The foreign land. Then happened the same thing – no letter, no news, no message, then…? The traveller pleaded with Baba. Somehow the traveller reached the foreign land. Then it was revealed that our hero sahab is on another boat, here he got married again. They also have two children, then..? Somehow he left the concubine and went back to his home. After a few days, there was a knock on the door, in the village. The hero sahab opened the door, oh my god! Here is the mistress with both the children. The beloved sundari and the mistress- face to face, now…? What! They will have a fight and then will agree. Earlier, young men used to go from village to city to earn their livelihood, even now they go from country to foreign country to earn their livelihood. Brain migration happens, it is on. Something like this, is Bhikhari Thakur’s Bidesiya…

BETIYAN MANNU KI

Director                    : Devendra Raj Ankur

Writer                       : Priyadarshan

Group                       : Hansakshar, New Delhi

Language                 : Hindi

Duration                   : 60 Minutes

Date                         09 Feb 2025

Play & Director’s Note : Betiyan Mannu Ki

The play ‘Betiyaan Mannu Ki’ is based on eight short stories and a novel written by renowned Indian writer Mannu Bhandari. The play explores the feminist dimension of her writing that has been generally ignored by critics till date. The play serves another purpose – it depicts the changing world of Indian women. These are stories of first-generation Indian girls who came to work, went to office and faced many social problems and personal dilemmas. These working women had to maintain a delicate balance between tradition and modernity. They had to choose between job, family, husband and lover. They forge relationships, embrace diversity and discover their freedom – and the meaning of this freedom.

The play begins with Bunty, the main character of the novel ‘Your Bunty’, coming on stage and introducing himself. This is followed by a conversation between Bunty and his mother Shakun. Later on, other characters and stories come and form a common thread. The play is woven in such a way that every story has its own independent presence and yet it is connected to other stories. The characters also complain to their author. In this way, it is an innovative play in Hindi. It has been well received in its first performance. It keeps the audience engaged throughout the show.

BACCHAE

Direction & Adaptation     : Ravinder Sharma

Writer                                 : Euripides

Group                                 : Samooh Theatre, J & K

Language                            : Hindi

Duration                             : 75 mins

Date                                    : 10 Feb. 2025

Play : BACCHAE

Dionysus, rejected by the Thebans as a god, forces the city’s women to worship him in the mountains. Disguised as a human, he leads a group of Bacchants from the east. Cadmus and Tiresias, recognizing Dionysus’ power, join his worship, but Pentheus, the Theban ruler, refuses and suspects the women of indecency. Despite Cadmus and Tiresias’ efforts to persuade him, Pentheus imprisons Dionysus, who escapes with divine powers. When Pentheus hears of the women’s wild behavior, Dionysus convinces him to disguise as a woman to witness it. Pentheus is torn apart by his mother Agaue, who, under Dionysus’ influence, mistakes him for a lion. In the end, Dionysus reveals himself as a god, unleashing his wrath on Thebes for their defiance.

ABOUT THE GROUP

Established nearly 30 years ago in the heart of Jammu, the City of Temples, our theatre group began its journey with a humble vision: to promote and propagate the art of theatre. Over the decades, we have earned recognition within and beyond the state, holding over 1500 shows and activities, including children’s theatre festivals, theatre-in-education workshops for urban and rural children, and dramatizations of Dogri poetry, novels, and world classics.

We have staged numerous iconic plays such as Bhagwatjukiam, Andha Yug, Hamlet, King Lear and The Trojan Women, among others, often collaborating with amateur and young artists. Supported by organizations like the J&K Academy, Sangeet Natak Akademi, and NZCC Patiala, our efforts focus on reviving Indian theatre traditions and fostering theatre education.

Our commitment lies in empowering artists, conducting workshops, and creating awareness in underserved areas, earning us numerous prestigious awards for our contributions to theatre.

BABUJI

Story :                Mithileshwar

Adaptation:        Vibhanshu Vaibhav

Director :            Rajesh Singh

Group :               NSD Repertory Company, New Delhi

Language :         Hindi

Duration :           120 Mins.

Date :                 01, 07 & 11 Feb. 2025

Play : Babuji

In a way, Babuji plays represent every person in our society who wants to live life with his own freedom and conditions. The protagonist of the play, Babuji, is a hero who wants to keep the artist inside him alive along with social responsibilities in his life. His mind is engrossed in folk drama like Nautanki, but due to his love for this drama, his own family life is also shattered. He is thrown out of his own house. Despite all this, the beat of the tabla and the echo of the harmonium remain with him till his last breath.

Playwright

Mithileshwar is a well-known name in Hindi story. Born on 31 December 1950 in Baisadih village of Bhojpur district in Bihar, India, he is a Hindi writer famous for writing on rural areas of India. His stories are a poignant portrayal of the psyche of the poor, exploited people in the villages or those going through diverse circumstances in rapidly industrializing modern India.

His major works are- Babuji, Meghna Ka Nirnaya, Harihar Kaka, Chal Khusro Ghar Aapne (story collection) Junia, Yuddhsthal, Prem Na Badi Upaje and Ant Nahi (novel).

Director’s Note

When I thought of doing it with the Repertory, I came to know that this play was performed by Rang Vibhuti Late B.V. Karanth ji for the first time with Shri Ram Center Repertory. He has used the endangered folk and nautanki style in this play.

Nautanki is one of North India’s most popular folk opera theatre forms. Before the advent of Bollywood, Nautanki was the biggest entertainment- medium in the villages and towns of North India. Nautanki’s rich musical compositions and humorous, gripping stories have a profound impact on the imagination of rural people. Therefore, I have tried to keep the folk songs composed by Kanratji in the play intact, yes, considering the graph and tone of the play, I have used two more folk songs separately. The play is a tribute from us artistes to our inspirational and most venerable revered Late Shri B.V. Karanth ji.

Director

A graduate from Bihar University, Rajesh Singh received his initial training in theatre from Shri Ram Centre for Performing Arts, New Delhi. He also worked as an artiste with the Sahitya Kala Parishad Repertory and Shri Ram Center Repertory. In 2006, he graduated from the National School of Drama with specialization in theatre Techniques and design and studied Theatre Design, Direction and Stage Management at the London Academy of Music and Dramatic Arts, United Kingdom in 2008-09.

He developed his own special style of design and direction. His acclaimed directorial works include  ‘Rara’, ‘Raag Darbari’, ‘Babuji’ etc. In 2009, he was awarded the Mahindra Award for Music design of the play Laila Majnu directed by Prof. Ram Gopal Bajaj. He was awarded the Bismillah Khan Yuva Puraskar by the Central Sangeet Natak Akademi for Visual  design, and Virendra Narayan Samman in the year 2017. He was a member of the Review Committee at the 54^th International Film Festival of India (IFFI). He is currently the Cheif of the National School of Drama Repertory.

Adaptation

Born in Pratapgarh in 1965, Vibhanshu Vaibhav is a multi-faceted playwright, actor, director, screenplay- dialogue writer and drama trainer. After graduating from Allahabad University, he obtained a diploma in dramatics from the Bhartendu Natya Academy, Lucknow. From 1987 to 1992, he worked as an actor at Shri Ram Center, Delhi and was also the Chief of the Repertory. Vibhanshu Vaibhav has directed and written many plays, including Maharathi, Babuji, Kaho To Boloon, Thumri, Manthan, Panchali, Gunda Sol Saga, Naseebonwali, Tarsat Jiyara Hamar, Chuttan Dubey Ke Sapne, Shab-B-Khair, Na Main Dharmi Na Adharmi etc.

He has been honored with many prestigious awards of the country along with the Uttar Pradesh Sangeet Natak Akademi Award for playwriting.

Group

Established in 1964 with only 4 members, the Repertory Company is the regular performing department of the school. It was established with the twin objectives of establishing professional theatre on the one hand and continuing regular experimental work on the other.

Cast and Credit

On Stage

Babuji :                                   Rajesh Singh / Suman Kumar

Kaushalya :                             Shilpa Bharti / Pooja Gupta

Barkau :                                   Mazibur Rehman / Ankur Singh

Chhotku :                                Satyendra Malik / Ankur Singh

Jagesar :                                  Naveen Singh Thakur / Aalok Ranjan

Sursati :                                   Potshangbam Rita Devi / Shivani Bhartiya

Kaka and Dhanpat :                Shiv Prasad Gond

Lachhu :                                  Vikram Lepcha / Parteek Badera

Kalidin :                                  Anant Sharma / Rajesh Singh

Inspector :                               Tabish Khan / Akhil Pratap Gautam

Rambhajan Singh :                  Akhil Pratap Gautam / Tabish Khan

Sipahi :                                    Hiralal Rai

Basanti :                                  Madhurima Tarafder / Poli Phukan

Farebi :                                    Parthik Badera / Sameer Jeevan Ramteke

Villagers :                               Motilal Khare, Satish Kumar, Narayan Ramesh Pawar, Sameer Jeevan Ramteke, Mukesh Jha, Raman.

Off Stage

Chief of Repertory :                Rajesh Singh

Light Design :                         Avtar Sahni

Set & Light Assistant             : Susheel Kant Mishra

Costume Design :                    Nalini R. Joshi

Assistants :                              Poonam, Shazia

Costume Incharge :                 Nisha, Parvati Bisht

Choreography :                       Nidhi Mishra

Set Exicution :                        Vikram Kumar, Manoj, Takmir, Rizwan

Light Exicution :                     Sunil, Shubham

Property Incharge :                 Motilal Khare

Assistant :                               Parteek, Sameer

Sound Technician :                 Swarna lata, Mukesh Kumar

Sound Arrangement :              Santosh Kumar (Sandy)

Harmonium :                           Rajesh Pathak

Banjo :                                     Narayan Thakur

Sarangi :                                  Anil Mishra

Rhythm :                                 Shilendra Chauhan

Nagada :                                  Ateeque Khan

Assistant :                               Naveen Singh Thakur

Poster – Brochure Design :      Ali Raza, Mazibur Rehman

Appearance :                           Shiv Prasad, Hiralal, Shivani

Photography :                          Deepak Kumar, Piyush Srivastava

Publicity :                                E. Gajalakshmi, Prakash Jha

Exhibition :                             Manoj Athwal, Pawan Kumar

Stage Manager :                      Abhishek Mudgal

Administration & Accounts :  Rajeev Pratap, Zubair Bedi

Admin Assistant :                   Manoj Athwal, Pawan Kumar

Assistant Director :                 Shiv Prasad Gond

Story :                                     Mithileshwar

Play Adaptation :                    Vibhanshu Vaibhav

Music :                                    Lt. B.V. Karanth

Scenic, Design & Direction :  Rajesh Singh

Contact

NSD, Repertory Company

Bahawalpur House, Bhagwandas Rode

New Delhi – 110001

Director                              : Iboyaima Khuman

Writer                                 : Maipaksana Haorongbam

Adaptation                          : Mani Yumnam

Group                                 : Sangai Artistes Association, Manipur

Language                            : Meitei/Manipuri

Duration                             : 120 mins

Date                                    : 06 Feb 2025

Play : ARONBA WARI

Paikhomba, hailing from a fringe village called Nungsithel, lives in Imphal city as a daily wager for livelihood.  Unfortunately, he has been wrongly convicted and hung  to death under IPC 302 act because of mistaken identity and by virtue of a crime committed by his look-alike.  But the  truth comes out and his innocent known. The real culprit named Nongjumba, the look-alike, is arrested and jailed. Having felt the impact of the gross mistake particularly the predicament faced by Paikhomba’s family, the jailer sends Nongjumba to the family of Paikhomba by impersonating the later to take the responsibility of the family. Who is the architect of the secret deal, impersonation and the new secret law that creates a hidden story? And who is going to come to the light about this secrecy and the hidden story behind?

ANATOMY OF A SUICIDE

Director                              : Hriturekha Nath

Writer                                 : Alice Birch

Group                                 : Diploma Production, NSD

Language                            : Hindi

Duration                             : 90 mins.

Date                                    : 08 Feb. 2025

Play : Anatomy of a Suicide

Anatomy of a Suicide by Alice Birch is a compelling and emotionally charged exploration of the intergenerational impact of mental illness and suicide within a family. The play spans three generations, focusing on the lives of three women—Carol, Anna, and Bonnie—who grapple with the complexities of mental health, familial bonds, and inherited trauma.

Set across different time periods, the play’s innovative narrative structure weaves the stories of these women together; illustrating how the experiences and struggles of one generation echo in the lives of the next.

Carol, in the 1970s, battles her inner demons while navigating the challenges of motherhood. Anna, her daughter in the present day, is haunted by the weight of her family history. Bonnie, Anna’s daughter in the near future, confronts her inherited legacy of trauma while striving to break free from the cycles of pain and suffering that define her family’s past.

Alice Birch’s masterful writing delves into the nuances of mental health, trauma, resilience, and the enduring quest for meaning in the face of despair. With its raw emotional depth and poignant storytelling, the play invites audiences to reflect on mental health, family, and the shared human experience.

This production not only brings Birch’s poetic and daring script to life but also serves as a vital conversation on mental illness, empathy, and hope.