Producer: Shabdaakaar Art and Cultural Society
Director: Tripurari Sharma
Language: Hindi
Duration: 1 Hour 10 Minutes

This play has the popular performing tradition of “NAUTANKI” as its backdrop. Till a few years ago (and in some parts even today) men adorn the female persona which is passed on from generation to generation. However, towards the middle of the previous century women set foot on this stage. Most of them were from the “BEDIN” community who are singers and dancers by caste and birth. They perform in festivals and occasions like marriage.The stage was a distant dream, it meant dignity as performer. The tussle between the accomplished male actor and the aspiring woman entrails could not have been an easy one. This is an attempt by two young actors to explore some human dimensions of this phenomenon. The man may exit but the popular female persona continues to persist.

An actor and director, Happy completed his masters in Dramatic Arts from NSD in 2008. He worked with various eminent theatre persons like Ram Gopal Bajaj, Amal Allana, Anuradha Kapur, Anamika Haksar, Abhilash Pillai, Robin Das, D.R. Ankur and others. He has directed plays such as Romeo Juliet, Cigarettes, In Search of Shakespear, The Dark Night, Deewarien and Cigarettes.

Producer - Theatre Arpana
Director - Sunil Shanbag
Language - Hindi
Duration   - 2 Hours 30 Minutes

The play is a seduction of ideas exploring one of the most controversial issues of our time – morality and censorship. The play flashes back to the early ’70s when Vijay Tendulkar’s classic, Sakharam Binder, set off a storm of controversy in the theatre scene. The stage censor board came down heavily on the script, and the play was attacked by sections of society. The unusual story of Sakharam Binder, the parallel world of tamasha, and the amazing spirit of the ’70s  all make up an exciting mix of theatre, memory, live music, dance, and video. The show provokes challenges, entertains, and asks the question – who says NO? And why?

Nagesh Bhonsle comes from the Lok Natya tradition of Maharashtra and is an example of an actor who has brilliantly been able to transit to modern urban theatre and cinema without losing his roots. Nagesh has worked extensively in theatre in Marathi, Hindi and English, and is a very popular cinema actor as well. He is now emerging as a film director with two films to his credit, of which the film Ghosta Chhoti Dongraevadhi has received a great deal of critical acclaim.

Ketaki Thatte is well known for her work as an actress in Marathi theatre, television and cinema. She won acclaim in her role in Samudra, a play directed by Paresh Mokashi. She has worked on many commercial and experimental Marathi plays such as Sangeet Deboochya Mulee, Katkon Trikon and Janoo Kahi Vaastav.

Rajashree Sawant Wad has been working for many years in the Hindi and Marathi theatre.  She was awarded a scholarship for Young Artists by the Ministry of Culture in 2000. After her stint at the NSD, she continued her work in Pune acting with several young directors, and conducting workshops in acting. She was nominated in the best supporting actress category for ZEE Gaurav in 2007.

Sunil Shanbag is one of Mumbai’s foremost theatre directors whose work is constantly striving to push the boundaries of theatre in form and content. His work has received wide acclaim across the country. His brilliant production of Ramu Ramnathan’s Cotton 56, Polyester 84 received the Mahindra Excellence in Theatre Award for Best Play in 2008. After S*X, M*Rality, And Cens*Rship, he directed a new play titled Dreams of Taleem, and is currently working on a Rabindranath Tagore text for the Tagore Festival in Kolkata.

Is a Mumbai-based novelist, translator, theatre historian and critic. Both her novels in Marathi, Rita Welinkar and Tya Varshi have won the Maharashtra State awards for best fiction. She has written columns on culture for Marathi dailies and periodicals and currently writes a fortnightly column on the performing arts for “Mumbai Mirror”.

Kalyani is a Pune based costume designer. After a long association with theater group ‘Asakta’ she has extended her work to feature and Ad films. Her latest work consists of theater productions such as Prashnopanishad, Makdachya Hati Champagne, S*X, M*Rality, And Cens*Rship and Dreams of Taleem. Kalyani was nominated in Best Costume Design category in META for plays TU and Charshe Koti Visarbhole.

Prashant Prakash is a Bombay based actor and writer. He has been working in theatre for three years.  He has acted in Numbers in the Dark, directed by Atul Kumar, The Company Theatre, and Hair directed by Ajay Krishnan. He is a founding member of Quaff Theatre, formed in 2008 and is currently acting in their production, The Skeleton Woman. The play won the Hindu Metro Plus Playwright Award 2009.

Nayantara Kotian is a graduate of the National Institute of Design, where she specialized in Film and Video Communication Design. Her student documentary One Show Less participated in several festivals worldwide and won the award for Best Documentary at Jeevika 2006, the Asian Festival of First Films 2006 and IDPA 2006 among others. Her other documentaries include Casting Shadows (2007), and The Other Olympics (2008), a commissioned film by Al Jazeera English.

Vivek Jadhav is a gold medalist from the JJ School of Arts. He is a sculptor, a painter, graphic designer, and installation artist. He has designed extensively for theatre and his design for Cotton 56, Polyester 84 was a highlight of the production. He has started designing for cinema and works as an art director.

Maya Jadhav is one of Maharastra’s leading lavani performers. She has been dancing and performing for the last four decades. In the 1970’s and 1980’s she acted in several theatre productions and many Marathi films. She has traveled widely and has been a regular participant in music and dance festivals in the USA, Europe, Dubai, and Australia. Maya Jadhav runs Kulaswamini, a folk dance academy, and she also choreographs folk dance presentations.

Trained in Kathak , he moved on to choreograph dance for films, television and theatre. His work has received wide acclaim. The scale of his work is also impressive — for the dance ballet Sambhavaami Yuge Yuge,  Mayur choreographed 450 dancers. In 2006 he was honoured by Sur Singaar Samsad, Mumbai with the Shringar Mani Award.

Producer: Anamika
Director: Milind Phatak & Rasika Joshi
Language: Marathi
Duration: 2 Hours 15 Minutes

The play is the contemporary play – a black comedy – of a man & a woman in their 40’s. They are very close Chat Friends involved even in erotic chat. At one point of time they desperately want to meet each other to transform that virtual reality in to reality and may take the decision of marriage. But when they in person, the showdown begins. Any known system of man – woman relationship is unacceptable to them. Neither can they accept the Sanskars of the previous generation, nor can they adjust to the thinking of the new generation! For them, marriage as an institution, is outdated and live-in relationship is unthinkable!!

Rasika Joshi is an eminent artist. She has been working not only in theatre, but has acted in many serials and feature films too. Some of the serials she worked in are Gubbare, Kya Hadsa Kya Hakikat, Bandini etc. She has acted in feature films like Ek Haseena Thi, Gayab, Vaastu Shastra, Malamal Weekly, Jonny Gaddar, Bhool Bhullaiya, Billu Barber . She has been part of Pantomime Workshop by Irshad Panjatan,Voice Culture by Ashok Ranade, Actors at Work by Peter Brook Workshop, and many workshops conducted by NCPA Mumbai.

He has acted in many plays and won State level best actor award thrice. He has written dialogues for many TV serials like Bandhan, Ya Gojirvanya Gharat, Aabhilasha, Chiranjiv Saubhagya kankshini, Agnihotra. He wrote the story, screenplay and dialogues of the film Tanya Mazya Sansarala Aani Kay and screenplay & dialogues of Pankhanchi Savli.

Producer: Oxygen Theatre Company
Director: Deeapan Sivaraman
Language: Malayalam
Duration:   1 Hour 45 Minutes

Spinal Cord narrates the story of a murder and its tragic consequences in a township.

Deepan Sivaraman has worked as a freelance theatre designer and director for ten years. He has designed over thirty performances and directed ten play productions. His scenographical and directorial productions have been performed across India. He has participated in several theatre festivals including Avignon Fringe 2007, Edinburgh Fringe 2006. Presently he is undertaking a practice- led PhD exploring the topic ‘Spatial identities and visual language in Indian theatre’ at Wimbledon College of Art London. He teaches scenography at University of Arts, London.

Anil gained a graduate degree in acting from Thrissur School of Drama in 1997 and has been working in theatre for the last 15 years. He has worked with many well known Indian and international theatre directors such as S Ramanujam, Maya Thongberg, K G Krishnamurthi, Abhilash Pillai, Naripatta Raju and M G Jyothish. Presently Anil is closely associated with Abhinaya Theatre Village as well as Oxygen Theatre Company.

After his academic studies, James got fully involved in amateur theatre activities. He is working as a TV production producer.  His major productions are Bharathavakyam, Beyond the Land of Hattamala, Lord of flies, and Waiting for Godot. He has performed throughout India With Theatre Eye Group.

Producer: The Kanglei Mime Theatre Repertory
Director: Yumnam Sadananda Singh
Language: Non Verbal
Duration:   1 Hour

Dedicated to Irom Chanu Sharmila, Mirel Masingkha is a physical play based on her repressed campaign against terrorism. In the last few decades Manipur has been witnessing a chaotic state full of incorrigible incidents: the stink, full of rot, corruption, killing, massacre, violence, oppression, and the inhuman crimes under the shield of the Black Law. Against such chaos stood up Irom Chanu Sharmila in the year 2000, with her Fast unto Death campaign. Her campaign is accused of being an attempt to suicide which is against all human constitutions. Sharmila has no plea for respite to the charges against her campaign. However she pleads the official for realization of her cause. The mime play venerates the unrelenting Spirit – Mirel personified of Irom Chanu Sharmila.

An actor and administrator, Yumnam is Ph.D. in Manipuri Theatre and was recipient of Scholarship in theatre from DOC under the guidance of Padamashree H. Kanhailal. He received mime training from Niranjan Goswami. He has participated in National Theatre and Mime Festival many times. He has also participated in International Mime Festival at South Korea, Greece and Macedonia.  Presently he is working as director of the Kanglei Mime Theatre Repertory, Imphal.

Student of class XII, Shanta Singh is an artiste of the Kanglei Mime Theatre Repertory since 2007. He participated in NSD Children Theatre Festival 2008 and in first Afro Asian Game 2004.  Trained in Martial arts, he received Gold Medal in National Tae-Kwondo.

Shri Inaocha is a professional in sound service, of Kanglei Ima Sound Service (KISS). As a sound Designer he has handled many occasions viz: theatre, concerts, folk and classical dance festivals held in Manipur and North East India.

Producer: UTSA
Director: Bidyawati Phukan
Language: Assamese
Duration:   1 Hour 45 Minutes

Subha, an accomplished Dhulia, is in love with Ghunusa, his teacher’s daughter. The girl is exceptionally gifted-‘lotus blooms in her steps, the cuckoo sings in her gaze and she has only to wish, and it rains.’ The villagers, battling a drought, arrange a ritualistic marriage of frogs to invoke rain; but it pours only when Ghunusa breaks into a dance. Damodar, Shubha’s brother, is also besotted by Ghunusa and asks for her hand in marriage. Ghunusa’s brother, Gambhir, unhappy with the proposition, proposes that Ghunusa marry the man whose buffalo emerges winner in the buffalo fight. Shubha’s buffalo wins; Ghunusa confesses her love for Shubha; Putuli, Damudar’s neglected wife is invited into the fold, as the community joyously celebrates the renewal of life.

A graduate from National School of Drama, Bidyawati Phukan has intensive training in the basics of physical culture and dance forms. She has acted in and directed plays for UTSA and has also acted in the lead role in the Assamese feature film Aai Kot Nai directed by renowned filmmaker Manju Borah. Right now she is working as an actor as well as a theatre worker with the troup UTSA, Assam, a centre for research, training and performance.

Trained in Seagul Theatre Academy; Manju had rigorous residential training in the craft of acting under the guidance of H. Kanhailal and Ima Savitri. She has worked as an actor in films, TV serials and with renowned theatre persons. Presently she is working as an actor as well as a theatre worker with the troup UTSA, Assam.

A folk artist, singer, musician Sailen Duwari started his life in theatre since childhood with acting in the traditional theatre form Ankiya Bhaona of Assam. He has worked with renowned theatre personalities Abhilash Pillai, K.M. Adil Hussain, Ettumanur P. Kannan, Danish Iqbal. He has participated in several national and international theatre festivals with his performance in Guti Phulor Gamusa all over India.

With a diploma in theatre, Anil is an eminent actor, directer, and designer in Assamese theatre world. Having participated in many theatre workshop organised by National School of Drama, he worked with renowned light designer Sri Achyut Kr Baishyain for two years. He has designed sound, music and light for the plays chiriyakhana, Stationor Aahin, Guti Phulor Gamusa, Bol Senai Taloike etc. He has also worked with many renowned theatre directors.

Khirud Gogoi has been an eminent light designer and technician in Assamese theatre since the last fifteen years. He has done light design for most of the theatre troupes of Assam viz. Kathia, Puhar, Pather, Samay, Akharaghar, Suryamukhi, Sutradhar Natyamancha, UTSA and others. His major productions as a light designer are Rupalim, Karengar Ligiri, Miri-jiori, Ulonga Raja, Guti Phulor Gamusa, Bol Senai Taloike and many others.

Actor, dancer, singer and designer, Sumi Borgohain has participated in theatre workshops organised by National School of Drama, New Delhi. Major productions as an actor and costume designer are Guti Phulor Gamusa and Bol Senai Taloike. She has participated in national and international theatre festivals all over India.

Producer: Aasakta Kalamanch
Director: Mohit Takalkar
Language: Marathi
Duration:   1 Hour 35 Minutes

Garbo is about the class of ‘young people’ living aimlessly with frustration of shattered dreams, the diffusion of mediocrity, and the burden of inhibitions. A play about the generation which breaks out into defiance of living out their own lives with non-conformism for a credo; throwing up in the process a small minority culture, containing within itself its own seeds of destruction. The drama in Garbo grows out of a claustrophobic real-life situation pushed to the limits of endurance, burgeoning into a surreal holy dream that is too unreal and brittle to stand the test.

Having worked with Natya Sanskaar Kala Academy for ten years, Nachiket Purnapatre has performed in around twenty productions for children’s theatre. He has also worked with various other theatre cults. Some of his works include Takshak Yaag, Abhaas ki Bhaas, Opuntia, Safar, Kokru, Kovli Unhe, Ramaprahar, Tu, Poornaviram, Charshe Kotee Visarbhole, Bedke Neeche Rehnewali.  Nachiket was recipient of Best Supporting Actor for the play TU at META 2007.

Sarang has been working consistently as an actor, director and technician for the past four years. He has acted in plays like Tu, Poornaviram, Charshe Kotee Visarbhole and Kashmir Kashmir. He has been the light designer for Aasakta productions of Kale Divas, Bedke Neeche Rehnewali. Along with Aasakta, he has worked with leading Marathi experimental groups like Maharashtra Cultural Centre, Samanvay, Ramaprahar, Pan Aamhala Khelaychay, etc. Sarang has also enacted roles in feature films like Life on the Line, Ek Marathi Manoos and Nital.

Producer: DAPON, the mirror and  P.D.C West Garo Hills, Meghalaya
Director: Pabitra Rabha
Language: Garo
Duration: 1 Hour 20 Minutes

The Play A–Chik A-Song is based on the socio- political history of the Garo Hills during 1870-1872 with special reference to the glorious first and the last arms struggle of the Garos against the British.

Pabitra Rabha has directed & choreographed several plays in different languages. His specialty is in the field of Lighting, Settings, Mask making, Make-up & Costumes. He has worked as a technical in-charge of local, national and international theatre festivals. As a musician he has played in Rhythm of forest, with international musicians several times specially the folk instrument of North-East. He has choreographed and designed many folk festivals.  His most valuable creation is The Rhythm of Bardoisila concentrating on all the traditional folk performances of North-East India.

Started as a teacher since 1984 till date, he is presently the Principal of the only Higher Secondary School of his locality. He has been the key person in organizing various socio- cultural activities, awareness programs, exhibitions amongst the rural backward tribal people. As the President of Porakhasia Development Committee, he successfully organized a Production Oriented Theatre Workshop in 2005.