Jaipur Plays

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Director : Piyal Bhattacharya
Writer : Shudraka
Translation : Sayak Mitra
Group : Chidakashkalalay, Centre of art and divinity, Howrah, W.B.
Language : Multi Lingual
Duration : 90 Mtns.


Never before staged, Padmank Gatha is an adaptation of “Padma Prabhritakam”, a Rupaka (10 types of play accordingly ‘Natyashastra’) by famous Sanskrit playwright Shudraka. An apt example of a ‘Bhan’, a model of the Western concept of monologue. The character ‘Samvatsar Vit’ is the learned common one, he heard a lot of teachings, and he goes on to render the picture of the society while he encounters characters that represent various stratum of the societal structure, which finds its relevance in today’s social model. ‘Bhan’ is the category of Rupaka that was modelled to communicate social evils and increase awareness amongst the common mass.

The story takes us through various facets of society and sheds light upon many issues which are usually less discussed, but Vit takes it up with ease. It blatantly opens up the hypocritic attitude of our society towards the prostitutes, whereas the society leaves no chance. Thus, through the supposed light mood the play conjures a serious inner-atmosphere within the viewers and leaves room for pondering within them.


A consummate artiste and also a painter, sculptor and costume designer Piyal Bhattacharya has been engrossed in the research and practical reconstruction of the complete performance system of Natya, from the perspective of Natyashastra for the past 20 years of his life. He completed 6 years diploma course in Kathakali Vesham (Kathakali acting) from Kerala Kalamandalam under the supervision of Kalamandalam Balasubramanyan, 2004. While in Kerala, he also learned Kathakali vocal under Kalamandalam Madambi Subramanyan Namboodiri, Cheruthuruthy.

He studied Rasa, Bhava, Chitrabhinaya and Samanyabhinaya of Natyashastra under Dr. K.D. Tripathi; Musicology under Dr. Pradeep Ghosh, Dr. N. Ramanathan and Indrani Chakraborty; took initial training in Rudra Veena under Subir Mishra; went to Myanmar to learn the migrated tradition of Indian Harp, surviving as Saung Gauk under U Win Maung, at Gitameit Music Centre, Yangon, Myanmar, 2016.

It is has been his sole endeavour to uphold the ancient tradition of performance as envisioned by him under the name of “MARGA NATYA”, a sincere effort of research and reconstruction evolved from the practice of Nritta, Geet and Abhinaya based on Bharata’s theatrical system of performance, based on the Natyasastra.

He was awarded Sangeet Natak Akademi, New Delhi junior fellowship grant on ‘Ekadasha Natya-sangraha of Natyashastra’ 2010; ICH fellowship for ‘Safeguarding Intangible Cultural heritage’, granted by Sangeet Natak Akademy, 2014; Tagore Scholarship by Sangeet Natak Akademi, Delhi, 2019-2020; Kalasarathi Award, Sri Sri University, Bangalore, 2022 and many more.  At present he is taking advance training in Dagar style from Ustad Bahauddin Dagar.


Away from the hustle and bustle of the city, this institution is committed to preserve and serve the traditional art and culture. This artistic endeavour is the brainchild of Piyal Bhattacharya, who has dedicated his life to determine and preserve the practice and propagation of Ancient Indian Art forms. This is primarily founded upon the practice and performance based on the wisdom of Bharata’s Natya-system explored in Natyashastra. This has been envisioned and researched into a form of practice named as Marga Natya.

Established in 2013 standing amidst the babel of modern society, this institution endeavours to build consciousness about the richness and the importance of Guru-Shishya Parampara and self-improvement within all. A deviation from the modern practice of inviting actors to form a theatre group, here, individuals go through an enriching experience where they are given an opportunity to bloom. Not only are involved in resurrecting the lost tradition of Bharata’s practice of Natyashastra, they are fulfilling the essential meaning of practicing Indian Classical Art. This is not a mere art form, this a way of life, a parallel culture where the disciples develop into artistes who can contribute in the society by enriching the Indian Heritage.

Ima Nangi Natambakta (1)
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IMA NANGI NATAMBAKTA (On Your Bosom, Mother Earth!)

Writer and Director: Heisnam Tomba
Group: Kalakhetra, Imphal,  Manipur
Language: Manipuri
Duration: 1:05 Hrs.


The mother lovingly called him Manikorouhanba. His late father named him Sanakokchao. From his childhood, he has been obedient, honest and studious. His father absconded before he understood the world. People believe his father is not alive.

Manikorouhanba’s mother worries about his future. Because like his father, his mother can see in him his honesty, straightforward, someone who stands against any form of wrongdoings. The mother is always apprehensive about him. The mother prays the three avatars of Sun God every day – Mangang, Luwang, Khuman for his well-being. Many days had passed. Now Manikorouhanba is studying at a university.

Today, Manikorouhanba wants to search the whereabouts of his father. He starts reading his father’s books. He is not interested in romance and other natural activities of his age. The boy, who always topped his class from school to university, has many enemies who are envious of him. He wants to bring changes to society. He wants to clean the corruption. He started investigating the false disappearance of people in the state. An unfortunate circumstance makes him a murderer. He was in prison for some years. Even in prison, he never stopped his research. He keeps reading, researching and writing.

Coming out of the prison, he begins a new life. Holding a broom, he started sweeping the wrongs of society. Sweeping the evils of society, he becomes older and older – from school to college, college to university, university to prison, prison to becoming sweeper. At last, he transforms himself into a broom. Can you believe this – a human turning into a broom? This is the story of the play Ima Nanggi Natambakta (On Your Bosom, Mother Earth!).

Director’s Note

The play is a production of a 30 days residential theatre workshop. It is a production primarily built up through improvisations. The final script is written after making the play. During the workshop, the main focus was on searching for a new language of theatre for the next generation. The participants were mainly young new actors. The whole credit of the play goes to those young, ambitious actors and their parents who encourage them to pursue theatre. I hope that the celebration of Azadika Amrit Mahotsav brings a new life to theatre art, which is on the verge of extinction.


Established in 1969 by the late Heisnam Kanhailal, Kalakshetra Manipur has evolved a distinctive theatrical style that is predominantly non-verbal. The group is dedicated towards expressing the realities of oppression and resistance that are a part of day-to-day living in Manipur today, through plays like Pebet and Memoirs of Africa. Other major productions of the group are Tamnalai (Haunting Spirit), Kabui Keioiba (Half Man Half Tiger), Khomdon Meiroubi, Imphal ’73, Izzat, Lajja, Karna, Draupadi, Dakghar, Samnadraba Mami (Disjointed Images), Hungry Stone,, An Enemy of the People, Keishumshang Nupi, Yamata amasung Keibu Kei-oiba etc.

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Shaadi Ke Mandap Mein

Director : Param Badhania, Guneet Singh & Prince Rajput
Playwright : Param Badhania, Guneet Singh & Prince Rajput
Group : Adakaar Theatre Society
Language : Hindi


Indian weddings are beautiful as they are eventful. Shaadi Ke Mandap Mein is no exception. A perfect wedding scenario suddenly turns serious when the bride slaps her brother in law and the wedding hall turns into a courtroom. The trial that follows is a hilarious take on societal norms. The audience is sent rolling on the floor with laughter as the wedding guests turn tradition to serve their personal vendettas and prioritize one upmanship over resolution and justice.

Director’s Note

Comedy as genre has been a very important form of art to the society.. Shaadi ke Mandap mein is a situational comedy which is a satire on the patriarchy existing in families due to which the revolt of an independent girl against the indecency caused by the brother in law is considered to be a disrespect. Most of us are not aware of the traditional values of our rituals but somehow we tend to use them for selfish motives.

The play reveals the dark side of the people related to the family, who are making it even difficult for the father who believes in the idea of Kanya dan and is confused about supporting the daughter with the fear of her married life getting disturbed.

We always wanted to portray the variety of people and their different sides of humour to make it entertaining for the audience and passing an important statement to not ignore what’s happening around us, not just in the society but our family too.

Director  and Playwright

Param Badhania is an actor, director, writer and designer, and began working in theatre arts in 2009. He is a graduate from National School of Drama 2015 to 2018 with specialisation in acting, and a Chhau dancer trained under the guidance of Guru Shashidhar Acharya.  He Acted in many plays including Mrichhkatikam, Orestria Trilogy, virasat, Hatya ek akar ki, Othello etc.

Had been awarded as Best director for the play Tauliye, at Mahavidyalaya Natya Samaroh. Has also designed sets for various plays including Shadi ke mandap mein, Tauliye, Hatya ek Akar ki.

Guneet Singh began his theatre career from Delhi University, with Jazba Theatre Group in 2012, and Graduated as an actor from National School of Drama in 2018. He acted in plays lide Mrichhkatikam, virasat, Love ki Sa re ga ma pa dha ni, Raat baki and many more with eminent theatre directors.  The urge of making theatre with an ensemble and for self got him into Direction and writing, major plays being ‘ The Journey to Mahatma’ recently performed in Milan, Italy in association with Cultural Ministry of India and Antardrishti, Not made for each other, Technical Default, Room no. 323 and more. He has also been regularly involved in acting training. Featured on screen as well in a Web Show named ‘The Great Indian Murder’ and more.

Prince Rajput, a commerce graduate from Delhi University, and post graduate in acting from Jamia Millia islamia, founded ‘Adakaar Theatre Society’ in 2016. Later he honed his script writing skills under the mentorship of Asghar Wajahat with Sahitya Kala Parishad, Delhi. He has written and directed many plays like Shaadi Ke Mandap Mein, Not Made For Each Other, Antardrishti etc. Earlier this year he scripted and performed the play- The journey to Mahatma at the International Theatre Festival Milan, Italy.


Adakaar Theatre Society was founded in 2016 with a vision of providing a platform to talented young artistes & promote theatre. Originated in Delhi, the group has now actively reached the artistes of Mumbai as well. Since 2016, the group has written & performed around 10 different scripts like “Not Made For Each Other”, ‘Shaadi Ke Mandap Mein”, “Technical Default”, “Antardrishti”,  “Bela”, “Vyaktigat”, etc. with approximately 50 shows in and around Delhi. Adakaar Theatre Society has also been a part of some of the most prestigious festivals such as Bharat Muni Rang Utsav by Skp Delhi, National Theatre Festival (Jabalpur), Sambharye Theatre Festival (Faridabad), Natsamrat Natya Utsav (New Delhi), Noida Rang Mahotsav (Noida), Silly Troupers theatre Festival (New Delhi). The Group has also won prizes like Best Script, Best Actor, Best director, Best make-up in different editions of Noida Rang Mahotsav and Navodit Natya samman by Natsamrat, Delhi. It has also designed & directed plays as well as worshops for various schools, colleges, MNCs and NGOs.

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Writer                        Vijaydan Detha
Playwright                  Suman Kumar
Director                     Nilesh Kumar Deepak
Group                         Rangbhoomi, Delhi
Language                  Hindi
Duration                    1 Hour 35 Minutes


Kenchuli explores many layers of a woman’s mind and introspects on her own battle. The story depicts, the anxiety of the mind of Laachhi, arising out of the extremism of the landlord; Thakur, infatuated with her beauty, and his sycopant ‘Bhoja’, and the neglect of her husband ‘Gujar’. The end of this story is the story of a woman who breaks the social shackles, becomes free like a snake, coming out of the cocoon,who wanders in exile in the whole world.

Director’s Note

Vijaydan Detha is the writer of general folks. He creates interesting plots (Story-lines) by taking his story in folk traditions. But his stories are more modern than, the cosmic and traditional the are. He makes unprecedented experiments in his traditional writings, which gives an extension to folk cultures and also prepares the terra firma for ideological basis (cause).

The specialty of his compositions is that he presents beautiful fabrications by giving a human form to the faunae other than the humans beings, using the stories, idioms, proverbs running through folk beliefs. The story ‘Kenchuli’ is also one such folk tale which narrates many questions of the female mind. The interestingness and ending of this story surprises us.


Born in Madhubani, Bihar in 1981 and trained in theater under the ‘Young Rangkarmi Natya Workshop’ 2001, Patna, by the Kendriya Sangeet Natak Akademi; and the ‘National Scholarship Scheme’ 2006 by the Ministry of Culture, Government of India, Nilesh Kumar Deepak started his theatre journey from Madhubani. He is involved in various aspects of drama-theatre and film-television such as acting, director, children’s theatre, teaching-training, reading and research.

Prominent among the plays directed by him are – Malah Toli Ek Chitra, Bijulia Bhauji, Shivale Ka Pret, Shavayatra Ke Baad Deh Shuddhi and Kenchuli etc. He has directed children’s plays- Samvadiya, Andher Nagari, Sadachar Ka Tabeez, Azad Bakriyan, Kabuliwala etc. and has acted in films and serials like ‘Pahun’, ‘Jangla Mangala’, ‘Damru Ustad’, ‘Soutin’, ‘Ghogh Mein Chan’, ‘Chhootat Nahi Premak Rang’, ‘Anar Kali of Ara’ etc. He was awarded the Young Theater Director Award by Sahitya Kala Parishad (Delhi Government), for his special contribution to theatre, ‘Bhikhari Thakur Rang Samman’ (CRD Patna) and ‘Srikant Mandal Rang Samman’ (Malorang, Delhi).


Vijaydan Detha, popularly known as ‘Bijji’ in the literary world, is the only storyteller whose works present the luminescence of the world with all its glory. With his unique creative skills, he gives such a form to the stories entrusted in the common man’s psyche, that the basic element of the folk remains intact, along with, the age-old stories get a touch of contemporaneity. He has created many timeless classical stories. He has established Indianness in world literature with many of his stories- Duvidha, Sapanpriya, Nagin Tera Vansh Badhe, Kenchuli, Dohri Zindagi, Anek Hitler etc. He has been honored with many awards like Padma Shri, Sahitya Akademi award, Sahitya Chudamani and Bihari Puraskar etc. for his incomparable contribution to literature.


A B.Ed from Patna University and Honors in Physics from Magadh University; A graduate in Production Process (1996) from National School of Drama and Diploma holder in Design (1988) from Mountview Theater School, London, Suman Kumar is presently working as Deputy Secretary (Drama/ Intangible, cultural Heritage), Sangeet Natak Akademi. He prepares scripts by exploring themes, improvised situations, writing lyrics and poetry, and exploring other non-dramatic forms. He has prepared more than 40 performance scripts for theatre on the basis of works by Shakespeare, Chekhov, Brecht, J.M. synge, Bhishma Sahni, Premchand, Neruda, Muktibodh, Dhumil, Faiz etc. He traveled to Denmark in 1996 with the play, Teen Ka Nanha Sipahi, based on Danish’s stories for the participatory International Theater Festival of Drama School, Copenhagen. He managed the program ‘Nrityarupa Peru and Cuba’ for the Sangeet Natak Akademi. He received the Mahindra Excellence Best Playwright Award 2012, National Cultural Junior Fellowship (Ministry of Culture) – 2004-05, Research Fellowship by the NSD for ‘Production Process’, Sangeet Natak Akademi Research Grant and Charles Wallace India Trust Scholarship UK-1998.


Hindi Rangbhoomi has been established for the upliftment of drama and theatre, especially theatrical performances, promotion, study, and documentation. The aim of the organization is to preserve and cherish its art and culture with the participation of the general public. The plays staged by the group include Kabuliwala, Shavyatra Ke Baad Deh Shuddhi, Rasapriya, Malah Toli Ek Chitra, Bhookh Aag Hai, Nirmohi Balam, Balachnama and Kenchuli. Among the main functions and events of the organization, ‘Rajkamal Jayanti’ 2017 on the birth anniversary of famous Hindi litterateur Rajkamal Chowdhary; and ‘Nach-Lok Utsav’ 2019 focused on performing folk arts of Bihar are important ones. The organization keeps on organizing theater workshops, performances, discussions and conferences across the country for the expansion of theatre.

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Director : Sandip Bhattacharya
Playwright : Henrik Ibsen
Group : Rangasram
Language : Bengali
Duration : 90 Mtns.


The town in which the play is set has built a huge bathing complex, that is crucial to the town’s economy. Dr. Stockmann has just discovered that the baths’ drainage system is seriously contaminated. He alerts several members of the community, including Hovstad and Aslaksen. However, his brother, who is also the town’s Mayor, tells him that he must retract his statements, for the necessary repairs would be too expensive. The brothers have a fierce argument, but Dr. Stockmann hopes that at least Hovstad’s newspaper will support him. However, the mayor convinces Hovstad and Aslaksen to oppose Dr. Stockmann.

The doctor holds a town meeting to give a lecture on the baths, but Aslaksen and the mayor try to keep him from speaking. The audience finds his speech incredibly offensive, and the next morning the doctor’s home is vandalized. He and his daughter are fired. The mayor insinuates that the doctor’s actions were merely a scheme to inherit more of Morten Kiil’s money. Doctor refuses all such suggestions and decides to defy authority and remain in town. His family is supportive, and he says that the strongest man is the man who stands alone.

Director’s Note

It is a Bengali adaptation of the play ‘An Enemy of the People’ written by Henrik Ibsen in the year 1882. During this extra ordinary time of the pandemic, the play represents the society and its inherent flaws through a dramatic discourse initiated by the characters from a timeless epoch. The play narrates a simple story of the Spas and Public Water Baths, which were the prized possession of the town and the municipality, turning poisonous and eventually a big threat to the community health.

The bacterias contaminating the water of the bath is seen as a metaphor to represent the human vices that had afflicted the race. Dr. Stockmann is presented as the simple-minded, large hearted, childlike lone fighter who manages to remove the masks from the faces of the wrongdoers and is able to wage a solo war against the perpetrators. The bath is infected by societal microbes that are spread all over. The production uses multimedia to pronounce certain aspects of the system and the governance in an artistically subtle way.


Sandip Bhattacharya was born in 1963 in a small town –  Berhampore of West Bengal and graduated from National School of Drama, New Delhi with specialization in Design and Direction in 1994, that too after doing Special Honors in Dramatic arts at Rabindra Bharati University, Kolkata. In 1995-96 he has awarded scholarship of Charles Wallace India Trust from British Council for study on design at Wimbledon School of Art, London.

Working as an independent Designer and Director, he had the opportunity of directing a huge number of  prestigious productions including Cherry Orchard, Hamlet, Chasmayer Phool (adaptation of Mid Summer Night’s Dream), Suntala Ko Bagaan (a Nepali adaptation of Cherry Orchard). Has also worked as a designer for eminent theatre personalities such as B.V.Karanth,  B.M.Shah, Anamika Haksar, Bidyut Nag. He acted in many plays. Achieved Best Director Award for the play “Monideepa” and “Santaap” and Best Actor Award in META for “Santaap”.

He Acted in Bengali Feature Film ‘F.I.R’. Visited Japan as a trainee Designer and also visited Sri Lanka as a Technical Instructor.


Henrik Ibsen (20 March 1828 – 23 May 1906) was a major 19th-century Norwegian playwright, theatre director, and poet. As one of the founders of modernism in theatre, Ibsen is often referred to as “the father of realism” and is one of the founders of Modernism in the theatre. His major works include Brand, Peer Gynt, An Enemy of the People, A Doll’s House, Hedda Gabler, When We Dead Awaken,  and The Master Builder. Ibsen is the most frequently performed dramatist in the world after Shakespeare. He was nominated for the Nobel Prize in Literature in 1902, 1903, and 1904. Ibsen’s dramas had a strong influence upon contemporary culture.


Debabrata Achariya has been working as a theatre worker since 1983. He has Acted in, and directed more than 60 plays. Till date he has written six full length Plays. His play ‘Mahuya Upakhyan’ won Academy Award of West Bengal Govt. in 2010. He also worked as an expert in many theatre workshops at West Bengal, Mizoram and Assam organized by the National School of Drama, New Delhi. He was awarded Life Time achievement award for Theatre from Paschimbanga Natya Academy in the year 2020. Scripted and directed two short films with Govt. of West Bengal namely: Aloy Fera and Aladiner Ashcharya Pradeep.


Rangasram was established in the year 1994-95 with a noble motto to build up actors, actresses and directors in Berhampore, which is such a small town where the cultural infrastructure is very poor and at Berhampore, under the guidance of some scholars and N.S.D. Graduates, directors like, Siddhartha Chakroborty, Partho Banerjee, Sandip Bhattacharya, Rangasram  has produced some brilliant productions, like Bijan Bhattacharya’s  Garvabati Janani, Bertolt Brecht’s Arturo Ui, Sanskrit play Uru Bhangam, and many more. Rangasram use to organize workshops on Acting, Theory, Make up, Aerial, Mime & Movement on regular basis to train the new comers in theatre. Rangasram participated in several National and International prestigious theatre festivals in various places in India, such as Hyderabad, Delhi (Bharat Rang Mahotsav, Theatre Olympics), Mumbai, Kolkata, Bihar, Assam, Bhopal itc. and in Bangladesh.

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Director and Playwright : Gopal Acharya
Group  : Rasdhara Sasnkritik Sansthan, Bhilwara
Language : Hindi
Duration : 85 Mns.



Kanku is a simple, very straightforward married woman. Her husband Banshi from the city and other in-laws are unnecessarily unhappy with her. Her husband Banshi’s behavior towards Kanku is also not human. She is neglected by all. Gradually, the mistreatment of her husband, home, family and society towards Kanku increases. Banshi justifies his characterlessness and tortures Kanku by accussing her of being a infertile and a witch.

Frustrated by unreasonable neglect, disdain and humiliation, Kanku falls into the darkness of psychological disturbance. When the people of family and the society consider her screams suffering from phantom obstruction or witch effect, according to the prevailing folk belief, she is brought to the DEVARA of folk deity Bhairau Nath. Devara gives Kanku’s feminine screams an uninterrupted opportunity for social expression where she arrives with all her mental tensions. Perhaps it is the first opportunity for expression of her conscience that helps Kanku to return her lost confidence belief and when the unconscious mind’s knots open, she eventually returns to normal life.

By the way Bhopa Bheru Nath is the folklore of the unheard outcry of female life in rural India, which stems from deep family social neglect and contempt. It is a story of the woman suffocating in lonely darkness between dual mentalities of a transitional society and her own complete home.

Director’s Note

There are countless layers of human relationships, like the countless colors of typical folk life.The tones of its emotions are like the innumerable sounds of the nature. The mood of human nature is like the multicolored shades of Life. Complex and unsolved like the social structure of India, “Bhopa Bherunath” is a play of these countless colors, sounds and multicolored shades, like any folktype. Through which we are able to see not only the intricate structure of human relationships but also touch the pastoral society and the emotional ground of female world involved in it.

Bhopa BheruNath is the story of the decay of a woman’s self-confidence and her rehabilitation through the complex character of suppressed Kanku. Parallel to the confession prevalent in Christianity, it also dramatizes the psychopathological implications of ‘Devara’ the typical Rajasthani system of purgation. Traveling layer, by layer of the truth of the individual and society, and the processes going on every floor, In making of a witch from a woman, shattering and rallying our inner colors.

Linguistic peculiarity of Rajasthan region, costumes, idioms, living conditions and mutual behaviour of the characters, which is on the ground reality level, they have been tried to enact in drama, while maintaining their true form. No additional artificiality is added.

Director and Playwright

Born on 16 April 1956 in Bhilwara, actor, director, writer, painter Gopal Acharya started Theatre activism on social and national concerns, in villages and towns, with the establishment of ‘Ras Dhara’ in 1981 along with his Theatre colleagues. After creating improvised plays in the initial years, he later participated in, and conducted drama workshops in tribal areas and cities with many voluntary organizations across the country.

Equally active in the field of poetry, story writing and drama writing, Gopal has been seriously involved in puppet making, production and direction of puppet plays. He has continuously organized Theatre talks and drama workshops in schools and colleges. He has written, directed and acted in about 50 short and full length. His main plays are- Bhopa Bhairunath, But Bande Banam Prayah Kahani, Bachao-Bachao, Sarpanch, Mrityubhoj, Bheden, Pyaaz Ke Chhilke. Besides, some are in the process. Apart from theatre, he has also been associated with writing and acting for TV and indigenous cinema.


Rasdhara is a voluntary organization established in 1981 by Gopal Acharya. This group of amateur theatre activists made many social problems the subject of their various plays, and performed hundreds of performances in cities and villages, by producing puppet plays, street plays for the purpose of education through plays.

Along with the continuity of research, promotion and related events on various dimensions of art, the objective of Rasdhara is to get acquainted with the meaningful sensitivity of the base behavior of arts in the nation and society, and to make it accessible to the public. Since 1993, the organization is active in the field of organizing the drama workshops and performances with children and youth; research and staging of folk drama, song, dance, folk lore etc. The major productions of the organization are- Bhopa Bhairunath, Mrityu Bhoj, Pyaz Ke Chhilke, But Bande Banam Prayah Kahani, Baba Badbole, Bachao-Bachao, Beta Nakal Mat Karna etc.

Rasadhara has been organizing the ‘Late Manju Joshi Smriti Natya Samaroh’ every year since 2018, in which plays invited from across the state and country are staged. ‘Manju Joshi Smriti Natya Puraskar’ is given every year to a female artiste of the state.

Recently, two very famous plays of Rasdhara – ‘Bhopa Bhairunath’ and ‘Purnta Ki Pyaas’ have been performed at national and international level that received great apalud . Apart from these, Rasadhara actively organizes children’s theater workshops.