Vignesh Ratnam’s “Pattambi”
Vignesh Ratnam’s play, Pattambi, written by Ratnam Koothapiran, is certainly of a different kind....
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India
How Does Commercial Theatre Fare In Delhi?
Grand sets, lavish costumes, technical extravaganza, celebrity actors, and pricey tickets —...
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Abhinaya Steals The Show at Kalakshetra Kathakali Festival
Through sensitive expressions and movements, the artistes conveyed the mood. The beauty of the...
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“For Me, The Script Is Not God”: Interview With Sunil Shanbag, Director Of “Words Have Been Uttered”
“While being respectful, I am not reverential,” says he, an Indian theatre director, screenwriter,...
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Elena Serra Keeps Mime Alive
Artiste and teacher Elena Serra shares the joy of conveying emotions without words. The greenroom...
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Mental Illness And Childhood Trauma On Indian Stage: QTP’s “Every Brilliant Thing”
In a country where mental illness is as big an issue as poverty is but is not talked about and dealt with the same zeal and enthusiasm, Mumbai-based QTP’s latest production Every Brilliant thing, written by British playwrights Duncan Macmillan and Jonny Donahoe, and directed by Quasar Thakore-Padamsee, comes as a much needed venture.
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Which Theatre Style Connects With You the Most, Asks Deepro Roy’s New Play
In his play Azad Theatre, Deepro Roy uses a singular set as the backdrop to spar a debate on two...
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Edinburgh Fringe 2019: Aditi Mittal, Sumit Anand and Devang Tewari On Their Journey to Edinburgh
For years, the Edinburgh Fringe Festival, those three performance-packed weeks in August, has been...
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“Shikaar” Review: A Commune of Chudails
Patchworks Ensemble’s new play, Shikaar explores the insidious culture of instigation...
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Sanhita Manch: Plays Spanning Genres And Sensibilities
Sanhita Manch’s third edition will stage four original plays that celebrate homegrown talent in...
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Review of “Gauhar”: A Peep Into a Bygone Era’s History, Emotions and Reality
Recently, Tata Steel Kolkata Literary Meet presented us with exquisite production, Gauhar, by the...
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The Power of a Collective: Playwright Groups at Centre 42
Playwriting can be a lonely career. For the independent playwright, creating work and searching...
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Strands of Sisterhood
Bengaluru-based, Theatre for Change uses “choreopoems” devised from music, text, and...
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“Black Hole”: Experiments with Female Representation
A woman peering in at the margins of a black hole waiting to be engulfed by its utter nothingness...
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Mapping Mumbai’s Alternative Performance Spaces
This week’s Girish Karnad tribute at Veda Factory — Hayavadana, reimagined by eight young...
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Sangeet Natak: Live and Kicking
Nehru Center’s Mahotsav is one of many efforts that continues to keep traditional...
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Anirudh Nair’s Exploratory Theatrical Style
One of India’s emergent theatre-makers, and also a young veteran when it comes to acting legs, the...
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“Dance Me to The End of Love” by Mahesh Dattani: Romance for the Millennial Era
Hidden within the body of work playwright Mahesh Dattani is usually cited for, is an underrated...
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What to Expect at The 2019 Hindu Theatre Fest
Under the umbrella of The Hindu Theatre Fest that has become synonymous with August in Chennai, a...
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Deepan Sivaraman on Going Beyond Words to Embrace The Visual Language of Theatre
The ace director has often faced flak from traditionalists. For well over a decade now, Deepan...
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