KALO SUNAKHARI (2012)

The play Kalo Sunakhari is inspired by Yeshe Dorjee Thongchi’s novel ‘’Sonam’ which is set against the Brokpa tribe (a section of Monpa) of Arunachal Pradesh, a community owing yak herds where a women is socially allowed to marry more than one man. The narrative is adapted in today’s Sikkim, attempts to analyse the collective belief, social practices and cultural discourses that shaped the life and society of the characters of a particular time. The entire dramatic incidence, happening and actions are confined to three main characters, interwined in a love triangle. The play is essentially a non-verbal also to open up this debate in today’s context that human body is biologically made for another human body, but the inner

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NIYAM TAH YAHI CHA (2013)

The play “Niyam Ta Yahi Cha” is a Nepali adaptation of German Playwright Bertolt Brecht’s “Exception and the Rule”. The background of the play has been set up on a part of the silk route, which is between Sikkim and China. A businessman wants to go to Sileri via Juluk along with a porter and a guide. An auction of an oil-well is supposed to take place in Sileri and whoever will reach first will win the auction. The road to Silari is full of hardship, it passes through the dangerous mountain valley and deserted icy land. To win the auction, Chhigle (the businessman) forces the porter and the guide to move faster. The businessman assumes that the guide is not doing his duty properly so he asks him to control the porter strictly.

Three of them reach Juluk before time and the road ahead to Sileri is a deserted icy mountain path. The businessman gets scared and moreover afraid of the friendship between the guide and the porter. He decides to dismiss the guide from the journey. As the guide was aware that there will be a scarcity of drinking water in the future journey, he gives his water-flask to the porter.

The businessman reaches the bank of river Tista along with the porter. As he sees that the banks are flooded, he threatens the porter with his revolver to get into the water. In the process, the porter fractures his arm and forgets the route. The businessman gets angry and beats him. The businessman becomes thirsty. He hides his own water-flask and snatches the porter’s flask to quench his thirsty. He starts to tell a story of thirsty to the porter the soft –hearted porter get afraid by thinking that if the businessman dies because of thirsty, he will not only lose his job but at the same time he will be accused of his death. So he takes out the water –flask, which was given by the guide and approaches to offer it to the businessman but the businessman misunderstands his approach. The businessman assumes the water –flask as a stone and shot the porter.

The case open in the court. The widow of the porter demand punishment for the murder of her husband and a compensation for her children’s upbringing. The guide assures her that she will get justice because he has the proof. The court procedure starts and everybody narrates their part. The guide proves that the indentation of the porter was to offer water and not murder. The court hears everything and gives the verdict, “The businessman could not expect any help from a class from where the porter belongs to. Moreover his crime to the porter dissuaded him to expect any help from the porter. In this circumstance, the businessman shot the porter to save his own life and because of this the court acquits him completely”.

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AB AUR NAHI (2014)

The play “Ab Aur Nahi” has been inspired by “Romeo and Juliet” a tragic romantic play by William Shakespeare. The play begins with a brawl between Wi-fi anf Hi-fi gang. Wi-fi gang believes themselves to be the native and from a royal background where as Hi-fi gang belong to a business class family, who have been living there for a very long time. They are always fighting for their land, existence and identity with each other. Mean while format (bar owner) who is friends with both the gang discovers that Orkut (Romeo) of Hi-fi gang, is stem from unrequited infatuation for a girl named Rosaline. Persuaded by format, Orkut attends the party (thrown by Wi-fi gang for Hacker’s only sister) at the pub in the hope of meeting Rosaline. However, Orkut (Romeo) instead meets and falls in love with Juliet (Hacker’s only sister). Hacker gets enraged at Orkut and his Hi-fi gang for being at the party and both the gang challenges each other for the fight. After the party, in the balcony scene, Orkut sneak’s in to the orchard and calls out to Juliet to her window and proposes to her. He makes himself known to her and they both agree to be together in-spite of their gang’s hatred. Blue Ray (Hacker’s girlfriend) and format, being aware of the love between Orkut and Juliet, hopes that both Hi-fi and Wi-fi gang reconcile. Hacker still incensed that Orkut had sneaked into the party challenges Hi-fi gang for a fight. Orkut, considering Hacker as his lover’s only brother, refuses to fight.

Whereas Torrent leader of Hi-fi gang accepts it, when Orkut attempts to stop the fight, Hacker stabs Torrent with a knife. Grief stricken Orkut confronts and moves forward to kill Hacker when Torrent shoots Hacker with a Gun. Dongle (Wi-fi gang) puts a false accusation on Orkut for the murder of Hacker. Orkut reaches out to his love Juiet in her chamber to explain that he did not kill her brother. Both of them then goes to seek help from Format to move out of the place and start their new life somewhere else. On other side both the gangs will be still fighting with each other. When Blue Ray turns up and explains to them about what they have been doing all these years and what they have lost today. At last both the gang regrets their mistakes and unite with each other. They realize that fights, hatred, ego is all meaningless and worthless. In this play we have shown time in different places and in different avatar. The time has played a very important and a vital role. Its time which makes and its time which breaks. Time decides meeting and parting. And at last in this play time unites everyone.

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ANDHA YUG (2015)

The play Andha yug is based on epic Mahabharata. In the last day of 18 days long Mahabharata war where Kaurava’s has lost their battle with the only survivor Duryodhana. And in Hastinapur Ghandhari, King Dhritarashtra and Mahtama Vidura was waiting for Sanjay to know the war scenario and also to know the Duryodhana’s battle status. In Kurkshetra Ashwatthama long for one last revenge against Pandavas. Yudhisthira’s half truth was the reason of Drona’s death. And Ashwatthama who was longing to take revenge from the Padva’s for killing his father Drorna. In the middle of night, he goes to the Pandav’s shivir (camp) where he found everyone sleeping he takes advantage of that and kills Pandav’s sainik. In this act of killing Kripacharya and Kritavarma also helps Ashwatthama.

Sanjay tells the story of the war field in detail to Gandhari, Dhritarashtra and Vidur. After listing to the sanjay’s war story Gandhari expresses her interest to visit the war field (Kurkshetra) and to see the war incident with her own eyes. Ashwatthama out of anger and with the intension of revenge releases the ultimate weapon, the brahmastra which kills the Utara’s unborn child. For such act Krishna curses the Ashwatthama and snatches the mani (stone). After Krishna’s curse Aswatthama’s body covers with thousands of wounds and blood. Out of shame he runs in to the jungle. In the war field Duryodhana dies after a very long battle. Mata Gandhari starts weeping after seeing his son’s dead body and she curse Krishna for this massacre. Lord Krishna accepts Mata Gandhari’s curse. And after many years Krishana also dies from the hand of an ordinary hunter because of the Gandhari’s curse.

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TIRKHA

Based on a story by Rabindranath Togore, the play is weaved into a performance that raises poignant questions. A man purchases a Persian slave girl and gifts her against her will to the Badshah. The girl laments hysterically like a crazed women. Does her lament signify personal disappointment or the yearnings of the entire female race? Mehar Ali keeps shouting "These are false... Keep away" What does his shouting signify? The stone statues come alive at night, transforming themselves into enchantresses who overpower the men unwittingly venturing there. Whose perspective is this? A man's or women? How should the lamentations of the stone statues be interpreted? Do they thirst for male company? Or they want to be freed from the bondage of the enchantresses?

SAHASI AAMALA

The action begins in the North West region of Sontarai at the outskirts of a village on the highway in the spring of 1630. The region is ravaged with war and armies are desperate for fresh recruitments. Sahasi Aamala, the canteen wagon woman, protests against the forceful recruitment of her elder son but eventually loses her son to the army officers. She keeps travelling along with the Jatadhari army, doing business on the way with the help of her mute daughter Rammo and her other son. With passage of time, travelling with the army, she develops relations with the commander’s cook. She is reunited with her elder son in one of the camps. Sahasi Aamala’s habitation is invaded and she is held captive by the Tilakdhari army. She manages to free Rammo but her son gets killed. Her wagon is ransacked and destroyed by the rampaging soldiers. Two years pass by.

The war has spread to new zones like Gujar Ghati, Paharhichowki, Bhairon Taal...etc, Sahasi Aamala continues to tread along with the army in these war ridden zones. She runs her business of canteen wagon as usual. On one occasion she and Rammo are assaulted by the army for helping the injured peasants by offering them army uniform shirts, the enraged soldiers destroy her wagon. The commander of the Tilakdhari army is martyred and his funeral procession is held in the Gujar valley. People are discussing about war heroes and the priest feels his worthlessness. By the year 1638 Sahasi Aamala's business of canteen wagon reaches all time high with her wagon ever loaded with fresh supplies. One day Rammo is attacked and disfigured by the soldiers on her way back after buying materials to sell.

In the year 1640, there is a brief ceasefire between the warring armies after the death of the king of Jatadharis. Although happy that two of her children have survived the war, Sahasi Aamala worries that peace will doom them financially. But war breaks in no time, and she is back in business, unfortunately her other son is captured and executed for killing peasants and stealing live stocks during brief peacetime. Sahasi Aamala remains unaware of son's death. By the autumn of 1642 business has slows down and Sahasi Aamala, Rammo and the cook are forced to beg for food. The cook discovers he has inherited an inn and invites Sahasi Aamala to share it with her. Sahasi Aamala is unwilling to abandon Rammo, so he leaves them. In 1643, Sahasi Aamala leaves Jatadharis and joins the Tilakdharis and does business in town. Meanwhile, Rammo learns that the Jatadharis are planning a secret invasion by night. Rammo climbs onto a rooftop and beats drum loudly to warn the town of the approaching attack.

The Jatadhari soldiers plead with her to stop drumming but she refuses. The soldier shoots her. Now all three of Sahasi Aamala’s children are dead. Sahasi Aamala sings a lullaby for Rammo .Then she returns to her canteen wagon and begins following a passing regiment- in business once again.

MAYA MEGH

This is a tale which revolves around the life of a couple who leads ordinary lives and bicker incessantly. The wife is depressed about how her life turned out to be and hopes for salvation. One day the God of Death, Yama sends his messengers to inform her that she now has only twenty-four hours to live after which she would depart from the earth. The husband grows furious when he learns of this but is later deeply saddened by the news. He gradually realizes how precious his wife is to him. The wife, knowing that her end is near, tries to live her entire life within the span of a day. The play follows how the husband finds ways and means to fight the order of universe and dissuade the God of Death from taking her away.

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SUNTALA KO BAGAAN

This is a tale which revolves around the life of a couple who leads ordinary lives and bicker incessantly. The wife is depressed about how her life turned out to be and hopes for salvation. One day the God of Death, YamaIt is 1975-80, Sikkim. It is a time undergoing immense social and economic shifts. A time for change in all over India as well. The decline of the feudalistic values and cultures giving way to mass industrialization paving the way for the Gigantic capitalist world view. It is also a time when the authoritative and ancestrally riches are becoming poor and vulnerable. Aristocracy is showing signs of decay and the lower strata are growing stronger.

Mrs. Sharda Devi is an embodiment of this declining aristocracy. Once a Zamindarini, she is now so much under debt and mortgage that her ancestral property of an estate along with her very beloved orange orchard is on the verge of auction. She is coming back to Sikkim from Kolkata after 5 years along with her daughter Sandhya to take care of the financial problems and settle the legal proceedings. Accompanying her is her trusted maidservant Ranjit.

Dinesh, once a servant to the estate by birth lineage (his father & Grandfather were also servant to the estate) has come back to the estate after accumulating huge wealth by working in Dubai for a couple of years. He has been back with a sole purpose and that is to buy off Sharda Devi’s estate and orange orchard. A sense of rivalry continues to work in him. As Sharda Devi is left with no other choice but to auction of the estate, Dinesh buys it. Sharda Devi and her family morally collapse. But they have nothing to do, as the power has shifted hands. And money has changed sides. It is not with Sharda Devi anymore, it is with Dinesh.

Dinesh plans to build up a colony on the huge grounds of the orange garden. Where there would be school for the children and hospital for the people. All the trees are being cut down. Old Ratnaman is left alone in the dilapidated estate. Sharda Devi leaves in utter despair, her future unknown. The sound of the axe blade on the tree trunks seems very familiar to the last breath of an ailing man, of a dying culture, of a decaying social structure.

SURAJMUKHI AND HAMLET (2019)

In the play ‘Surajmukhi and Hamlet’, an attempt has been made to depict many situations of human life in the present society. It shows a kind of indecision, an irresoluteness that is the biggest dilemma of human life--‘To be or not to be’, as mentioned in the play Hamlet. Humans look for warmth, truthfulness, and a feeling of trust in their relationships, which everyone does not get. Almost everyone is scared of relationships; everyone is insecure in handling the relationships. The foundation of relationships should have been built on love and care, is now based on aspirations and expectations. In the play, ‘writer’ is an original character around whom there are a lot of characters who make things happen.

All the events and situations, while being absolutely realistic, are also symbolic at the same time. Take the example of leakage of pipeline in the writer's home, which is natural in a common man’s life, yet 'leaking' becomes a symbol here. The leaking of heat, love, emotions from the relationships means there are cracks in the relationships and the feelings and love leaking out of those cracks. Two plumbers arrive to fix the leak. This is natural, yet they look like a symbol of the contractors of the society.

Those people who have taken the responsibility to fix the leak, or the rule-makers who are making rules on personal relations, or who are driving the society in one direction, how far they could fix the leaks, or even do it, a question arises. The question is that the relationship grows between the mutual exchange of love and care between two people, if this exchange is not equal then why not the love turns towards he feels warmth, care and love, like a sunflower? Relationships are becoming complex day by day in today's society. People are getting suffocated under the load of complex relationships. In total, we see the day-to-day circumstances and events of life that shows the disintegration of relationships in today’s society in an interesting way in the play.

SAFED LAKEER

A combination of facts and imagination, the play Safed Lakeer is based on the research work done by repertory artists on drug abusers and their rehabilitation facilities. In the play, Dr. Mallika Singh is the Director of a Rehab Centre run by a Trust. A Psychiatrist by profession, she is a very simple lady with great work ethics and always been concerned about the mental health of the drug abusers who joins the rehab centre. It's been 5 years that she has been passionately working in the centre for the betterment of their life. Her way of treating patients is different and she puts her genuine efforts in bringing the abusers back to normal. There are many such characters, for example, Puru- a young creative boy whose life ends up in devastation with the mix-addiction of drugs; Arjun- a very good footballer and son of a rich Real Estate Businessman; Samten- lead vocalist of a famous music band; Ashok- a highly educated and intellectual person; Tuhina- who comes for counseling, and many others, who have been fallen into the trap of drugs at some point of time in their life. They all have their own stories that are slowly revealed. The light and conflict of their past, present and with themselves carries forward the story of this play.

KALO BHARI

The play is based on Kalo – Bhari system that prevailed in Sikkim in pre-indepence era. The literal meaning of Kalo Bhari is Black Load in English. General public of Sikkim suffered under this system asthey were exploited under the system. At least one person from each family had to carry huge load of British Trade Agency, which was referred to as Kalo Bhari, via the tough and dangerous Silk route to Tibet. The people didn’t receive any payment and were forced to go, regardless of their situation. The family of Saaila and Saaili is one such exploited family. We see the souls of their ancestors roaming in the hope that their children will one day be free of this system. The grandchild Bharat gets born amongst this dark situation. Bharat’s mother Bharati sends Bharat to Darjeeling so that he can study and bring change to this system. Bharat gets influenced by the examples and ideals of Khudiram Bose, Bhagat Singh and Mahatma Gandhi and goes to Banaras for further studies. There he gets involved in the Freedom movement of India. But as he gets the news about growing exploitation prevailing in Sikkim, he returns to Sikkim and starts revolt against the Kalo Bhari system.

Uttaramcharitam

The play 'Uttarramcharitam' by Mahakavi Bhavabhuti is a unique play of Sanskrit literature. The seven act play tells the story of later life of Shri Rama. After the coronation of Shri Rama, because of the populism in Ayodhya, he had to abandon his pregnant wife Sita despite not wanting to. The main story of this play is the portrayal of the estranged, human Rama after Sita's departure. The great poet has taken out Rama from his image of a most dignified man (Maryada Purushottam) and his political ideals and highlighted him as an ideal of love and marriage. On the other hand, Sita is also silent against the unjust decision of Rama. This is the Ideal of harmony. Rama himself knew that Sita was innocent and had done a cruel act by expelling an innocent person from the Kingdom. All this is evident from his lamentation. This play is a beautiful saga of atonement and repentance for the sin of Sita's exile through the lamentation of Shri Rama. As a patient Hero (Dhirodatta Nayaka), Rama is brave, mighty, benevolent guardian of people (Prajapalak) but first of all he is an ideal man.

Bhasbharatam

An attempt has been made to tell the story of the play through Charan and Bhatta. ACharan and Bhatta is one of the oldest mediums of storytelling that is still seen in many parts of India. The play begins with 'Pancharatram', in which a condition is placed to find the Pandavas living in exile in five nights that if the Pandavas are found by Guru Drona in five nights, Duryadhana will give half of their kingdom to the PandavasasmGurudakshina. When this happens, the work of Bhasa is questioned by Bhatta. Charan discusses this conflict. After that there is the play 'Dootvakyam' in which Shri Krishna makes a peaceful proposal by becoming a messenger before the war, but Duryadhana rejects the proposal due to his arrogance and his exact reasons and Krishna shows his dreadful form on Duryadhana's presumptuous attempt to make him a prisoner. After that, the play 'Karnabharam' begins, in which, Karna loses his armor-rings before the war due to Indra's deceit and goes to the war without armor. Here, a context of Abhimanyu war also comes. After which, in the play 'Dutaghatotkacha', Ghatotkacha comes in the form of a messenger with Krishna's message to stop the war, but again that proposal is turned down. In the end comes the play 'Urubhangam' in which there is a scene of Duryadhana'sUrubhanga by Bhima at the behest of Krishna in the war, after which Duryadhana's self- realization leads to his ascension. In the end, the play ends with Bharat Vakya, after Charan and Bhatta's epilogue, preaching the value of wisdom.

Shankar

Vijaydan Detha's story 'Rijak ki Maryada' is a tragic story of a Bhaand artist. In the story, there is a Bhaand named Shankar. He is a chameleon and can take on any character. Whoever's form he takes, starts living that character. Once, he goes to some area in the guise of a sadhu and makes the act so convincing that no one can recognize him. Everyone thinks that he is an axiomatic Sant. His fame spreads far and wide. A businessman of that area along with his family becomes his devotee. Businessman gets so immersed in devotion that he wants to donate all his wealth to the sadhu. But at this point of time, Shankar Bhaand comes in his real self and says that he is not a sadhu but Shankar Bhaand. The businessman laments and asks Shankar, after acquiring so much wealth, why he is abandoning the disguise of a sadhu? Then Shankar Bhaand says, 'This is Rijak ki Maryada—the dignity of a Rijak. The story goes on to say that whether the King cares about his dignity or not, Rijak maintains the dignity of his art even by sacrificing his life. Knowing about him, once the King calls Shankar Bhaand and asks him to impersonate a witch. Shankar Bhaand insists the King not to ask him to impersonate a witch because a witch calms down only after ripping open someone's chest and drinking his or her blood. After getting immersed in the imitation, she will not be aware whether the person in front of him is a Minister or a guard or the King. The King and the Minister think this is his excuse. On the Minister's instigation, the King maintains his order. So, the next day Shankar Bhaand appears in the guise of a witch. His witch act was so convincing that everyone from the King to the peoples ran away after seeing her. But the King's brother-in-law, who was always remains drunk, stumbles and falls before him. The witch rips open his chest and drinks a handful of blood. After coming out of this convincing act, Shankar Bhaand calls out to the people for a tip. When people see that he is not a witch but Shankar Bhaand, everyone ties him with ropes calling him the murderer of the King's brother-in-law. The queen also comes crying after hearing the news of her brother's death and demands death penalty for Shankar Bhaand. Calling himself innocent, Shankar Bhaand reminds the King that despite his refusal, the King himself has asked him to do this act, so what is his fault? The helpless King gets into a dilemma after listening Shankar Bhaand. On one side there is queen's wish and on the other side is Bhaand's argument. However, the King is saved from this dilemma by his Minister who requests him to order Shankar Bhaand to impersonate a Sati tomorrow, so that Shankar gets punished and the blame does not fall on them. On the advice of the Ministers, the King wakes up and orders Shankar Bhaand to impersonate a Sati next day. Knowing that he would not survive after this act, Shankar Bhaand obeys the King's orders. He requests the King to tell his children to follow the dignity of their Rijak like their father. Then he acts as a sati and thus maintains the dignity of his Rijak.