Anya Theatre’s New Drama Prothom Rajnoitik Hatya Is A Commendable One: ‘Anya Theatre’ founded by Bivas Chakraborty has been socially conscious, speech-oriented, and experimenting with theater style since its inception. Under Vivasbabu’s direction, even if there is another director under his advice, he also maintains a high standard of production not only in the specific quality of the ensemble but also in the splendor of the performance. So happy – he has got a bright, temperamental, dexterous young man like Debashis, an extraordinary possessor in every department of acting! The responsibility of directing the new drama ‘Prothom Rajnoitik Hatya’ (Prothom Rajnoitik Hatya) has fallen on him. At the same time, Debashis has got a bunch of enthusiastic, hardworking, and drama-loving boys on his team, who are his main asset.
Together, they joined hands, not only with strong performances but also with dancing, singing, and playing, enthralling the audience for two hours across the entire Academy stage. Not only the use of light, not the novel design of the set, but the overall production value of this drama is an exemplary work in the world of Bengali dramas of the moment. This play by Debashis is about the conflict between an armed revolutionary and a traitorous revolutionary in the independence movement of Bengal one hundred and fourteen years ago.
As we know, Naren Gonsai betrayed the revolutionaries by becoming a royal witness in the Alipore case. Two youths took responsibility to kill him
Asthma sufferer Satyen Bose and Malaria sufferer Kanailal Dutta. In drama, they come naturally to revolutionaries Barin Ghosh, Khudiram Bose, Prafulla Chaki, Hemchandra Kanungo, and Arvind Ghosh. Those who not only made bombs in Beleghata’s garden but also took an active role in the attack on Saheb. The parallel story of the politics of murder that a current political leader wants to draw by comparing Somraj with that traitorous revolutionary of 1908 remains a bit murky.
The politics of today and the politics of that time are never the same. There is a difference between the two times. That aside, the whole production is astonishing in its work in every department of the play. Especially the technique of working together with each section and tying them together with the director’s Munsiana is impressive. The act of setting the stage with carpets, mattresses, blankets, chairs, tables, rags, sheets, etc. bridges the gap between ‘now’ and ‘then’. Every time two ‘times’ come together on the stage.
I will separate the name of the actor! Bhaskar Mukhopadhyay (Kanailal), Sayantan Mitra (Barin), Ork Sen (Khudiram), Parimal Mandal (Naren), Babar Chowdhury (Anuranan), Raju Dhar (Satyendranath) – everyone dazzles with their physical and verbal performances. Afroditi Roy as Kishore Sushil Sen and Krishna Dutt as Kanai’s mother also caught the eye. Bhaskar had additional responsibility in singing. He was also very successful there. Debashis actually wanted to say – the killing of Kanailal was the first political killing in this state. Once again, the question came up, between the killing of Kanailal and the current clan conflict, can the killing of ‘Nyota’ be done at one point, or should it be done? However, it must be admitted that the collaboration of Debashis and other theaters resulted in such an awe-inspiring play.
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