Dilip Guha ★ New Delhi: The Drama Society Aakriti marked its 23rd annual night with the powerful staging of two enthralling Bengali one-act plays—Janak and Jaatra. The evening was a celebration of storytelling, performance, and cultural continuity, reflecting the group’s unwavering commitment to theatrical excellence. The event was held at the capital’s Muktadhara Auditorium on August 30, 2025.
Founded in 2002, Aakriti has carved a remarkable journey over the past two decades, having produced 38 original plays, delivered 96 stage performances, and earned 64 prestigious awards—a testament to its creative vision and collective dedication.
Their first presentation of the evening, JANAK, a Bengali adaptation of Arthur Miller’s All My Sons, written by Shankar Basuthakur and directed by Souvik Sen Gzupta, is a tragic exploration of ambition, guilt, and moral reckoning. Set in North Bengal, the play centres on Sumath, a self-made factory owner who rose from poverty with a fierce determination to secure material comfort for his family. His values—work and family—are tested when ambition turns into obsession, leading him to commit a grave betrayal against his best friend, his country, and ultimately, his own kin.
The narrative opens with Sumath reminiscing with his old friend Nayar, reflecting on his humble beginnings and reflecting on his rise from modest origins to a self-made industrialist in North Bengal. His wife, Sushama, portrayed with quiet strength and compassion, anchors the emotional core of the family. Their younger son, Jayanta, anxiously awaits news of his elder brother, Sumantra Bose, a pilot who has been missing after a test flight. The arrival of journalist Subhankar Shanyal introduces tension, as he seeks to uncover the truth behind a scandal involving his late business partner, Bijoy Mukherjee, and faulty machine parts linked to aviation failures. Avik Mukherjee, Bijoy’s son, later reveals he knew of his father’s unjust fate but remained silent to protect Sumath’s family.
The climax is marked by Avik presenting Sumantra’s final letter, in which the pilot absolves blame and calls for moral accountability, declaring all fallen soldiers as sons of one nation. This revelation shatters Sumath, who, consumed by guilt and his son’s plea, takes his own life. The play ends in tragedy, leaving the family to grapple with the consequences of silence and ambition.
In terms of performance, Bhishma Brata Bhattacharjee’s portrayal of Sumath was moderate, capturing the character’s stoicism but sometimes lacking emotional depth in pivotal scenes. Aparna Banerjee as Sushama was well-suited to the role, offering a grounded and empathetic presence. Nirbhik Kumar Chatterjee as Nayar was fitting, though he could have brought more vitality to the role. Pratik Das as Jayanta and Priyadarshi Banerjee as Subhankar delivered sincere performances, while Sheshadri Ratna Mitra stood out as Avik, with exceptional voice control and stage presence.
Behind the scenes, Arnab Basu’s voice-over added gravitas, and Dilip Chakraborty’s makeup work was subtle yet effective. Lighting by Sagnik Chakrabarty had some shortcomings but was serviceable. Music recording and editing by Sauvik Acharyya, along with music operation by Abhiranjan Biswas Mukherjee, were well-coordinated and emotionally aligned. Backstage operations, led by Aditi and Ashish Dutta, were smooth and efficient, contributing to the overall cohesion of the production.
Director Souvik Sen Gupta stated that, being the first production, some bottlenecks occurred due to technical issues; these will be resolved next time.
The Second play of the evening, Jaatra, is the Bengali adaptation of the original play “Safar” by Vijay Tendulkar is a thought-provoking play exploring life’s journey through a young man’s bicycle trip around the world. It has been the simple but thought-provoking Bengali adaptation done by the renowned Director of the play, Arunava Sengupta.
The drama follows a young man’s quest to experience life by travelling the world on a bicycle, which he discovers has no wheels. The story is a metaphor for the journey of life, human consciousness, and the illusions of ambition.
The play begins as he prepares for his expedition to start a ‘world trip’ on his bicycle, thrilled by the journey ahead. He dreams of distant lands, oceans, and mountains, wanting to see exotic places and meet interesting people.
His overprotective parents, Ma and Baba, are apprehensive about the dangers and violence of the world outside their home.
After convincing his parents somehow, he starts his trip. As the adventure on the road gets darker and darker with the progress of the journey, the young man faces difficult elements in terms of both natural and human. He discovers that his bike, a symbol of progress and freedom, is missing its wheels, making his great adventure an immobile, imaginary one. unravels man’s dehumanisation through a series of encounters. Along the way, he meets a symbolic cast of characters, including a passerby, a bandit, a lion, a ghost, and a mermaid. He faces challenges and struggles that reveal the complexities of human nature, society’s corruption, and the ultimate futility of his quest.
At the end of his metaphorical journey, the protagonist lies on the ground in a fetal position, as if returning to the safety of the womb. This signifies that his entire expedition was a dream and that the only true journeys are internal.
The protagonist’s quest for independence and self-discovery raises questions about reality and fantasy. Symbolic characters and surreal encounters add complexity. The play critiques societal norms, inviting reflection. Through its experimental style and social relevance, the play showcases Tendulkar’s mastery of storytelling, leaving audiences to ponder life’s meaning and purpose.
The director emphasised the point that the journey of life is not about the destination but about exploration because we never really arrive. He said, “The play’s depth and complexity continue to inspire interpretation. At the end, the play again emphasised the basic question of life: ” Where have we come from?”. Life is a cycle from foetus to foetus. We have put a grey costume on all characters except the protagonist and the mermaid. This portrays the shades of the characters in the play. Simple but thought-provoking stage setup, usage of the cycle on stage, light, and music arrangement were the main attractions of the play”.
The production was anchored by a compelling performance from Pinaki Banerjee as the young protagonist. His nuanced delivery and emotive voice lent authenticity to the director’s vision, making his journey both relatable and resonant. His ability to embody vulnerability and conviction gave the narrative its emotional core.
The supporting cast enriched the storytelling with layered portrayals. Raja Das as Baba brought a quiet gravitas, portraying paternal restraint with understated depth. Mahua Ghosh as Maa infused maternal warmth and quiet resilience, grounding the family dynamic. Sabyasachi Sen as Protibeshi added texture with a performance that balanced curiosity and concern. Sajal Biswas, in dual roles as Pothochaari and Bhoot Vai, showcased remarkable versatility—his shift from grounded realism to spectral presence was both seamless and striking. Rana Lahiri as Wrishi & Bhaskar delivered a dual act with clarity and contrast, highlighting the inner tensions of each character. Shubhodeep Roy Choudhury as Narayan offered a restrained yet impactful presence, serving as a moral compass in key scenes. The ensemble of Graambasi—Sidharth Chatterjee (Chor & Singha), Manjuri Banerjee, Himaloy Chatterjee, and Arunava Sengupta—brought the village to life with distinct voices and gestures, each contributing to the collective rhythm of rural life. Ritoja Basu as Motsyokonya delivered a standout performance, blending mystique and emotion with poetic grace. Her portrayal lingered long after her scenes ended.
The production’s immersive quality was made possible by a dedicated creative team working behind the curtain:
Makeup: Dilip Chakraborty and Sudip Biswas created expressive visual identities that enhanced each character’s emotional arc. Costume Design: Kalpana Das curated attire that reflected cultural nuance and character depth. Music: Abhiranjan Biswas Mukherjee composed a soundscape that echoed the emotional beats and thematic undertones of the story. Light Design & Operation: Sagnik Chakraborty sculpted mood and movement through evocative lighting transitions. Set Design: Chandan Sengupta crafted a visual environment that seamlessly blended realism with metaphor. Backstage Coordination: Atri Mallick ensured fluid execution, maintaining rhythm and readiness throughout the performance.
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