Cast & Crew

Playwright: Rabindranath Tagore
Edit & Direction: Gautam Halder
On Stage:  
Nandini: Chaity Ghosal
Raja: Malay Saha
Kishore: Sraman Chatterjee
Adhyapak: Parimal Mukhopadhyay
Fagulal: Chandranath Roy
Chandra: Suma Dasgupta

Bishu Pagal:

Subhrajit Dutta
Sardar: Soumitra Mitra
Gosai: Sanjoy Bhattacharjee
Morol: Dibyendu Naskar
Paloan: Tarun Pal
Ranjan: Tarun Maji
Elora Rudra, Luna Ghosh, Maas Jana, Sanjib Chatterjee, Sanjoy Biswas, Enashree Banerjee, Pallabi Maji, Gourab Basu
Behind Stage:  
Music: Amaan Ali Khan & Ayan Ali Khan
Music Arrangement: Gautam Shome
Set: Sanchyan Ghosh
Light: Uttiyo Jana
Workshop Director: Bratya Basu
Choreography: Sukalyan Bhattacharjee
Costume: Malabika Mitra
Make Up: Bidhatree Deb Sarkar
Sound: Biswajit Das
Production Asst. Bilu Dutta, Arup Ratan Ganguly & Susanta Das
Directional Asst. Souporno Mitra



Four years ago a production of ‘Raktakarabi’ was staged in London. The director was a forty year old Englishman and the variegated cast included actors from different countries who gelled well. Why ‘Raktakarabi’ of all things? In reply the director had said, ‘because it is actually relevant and speaks to us here and now.

And eighty years before this, when ‘Raktakarabi’ was first published as a book, Jyagopal Banerjee had written that this play itself could bring about a political regeneration.

Thus over long years the play has remained acutely contemporary and relevant to us. It inextricably intertwines state repression, social exploitation, torment and misery current in our own time and there is also a wail in it – a wail raising hopes of freedom from these evils.

‘Nandini is a revolution’, said the English director. And Rabindranath had called her ‘spirit of joy’, ‘the surge of life’. This revolution or surge of life goes looking for a path to freedom from the monstrous mechanical way of life  bought on by a system which reduces men and women to machines.

In this way ‘Raktakarabi’ achieves universality and belongs to all times and all lands. Every age can find its counterpart in the characters and the trajectory of events in this play and fresh reverberations. Can any other play touch a chord in us now at this point of time more than ‘Raktakarabi’ which contains dialogue like, ‘don’t you see, here everybody seems to be angry or they are suspicious or they are afraid,’ and ‘where there’s only the curse of bloodshed and plinder’?

Sankha Ghosh


About the Director