Dilip Guha ★ New Delhi : Delhi-based art and culture collective Probashir Kantho brought to the stage Bitongsho, a full-length Bengali adaptation of the iconic American play Arsenic and Old Lace by Joseph Kesselring. The adaptation was translated by the legendary theatre personality Ajitesh Bandopadhyay. The production was directed by seasoned theatre practitioners Badal Ray and Shoma Mukherji, and produced by Shantomoy Ray. The play was staged on 7 March 2026 at the Bipin Chandra Pal Auditorium in Chittaranjan Park, New Delhi.
Probashir Kantho—meaning “Voice of the Diaspora”—was founded last year by Malayendu Mukherji, Shoma Mukherji, Shantomoy Ray, and Suchandra Ray. The collective aims to organise diverse cultural initiatives that celebrate and promote the rich cultural tapestry of the global diaspora, while envisioning theatre as a powerful platform for meaningful storytelling and artistic dialogue.
Through its initiatives, the group seeks to bring together individuals and institutions—artists and audiences, thinkers and change-makers—to create, converse, and celebrate culture.
Probashir Kantho curates school-level events and engages diaspora members from all walks of life. Its programmes span a wide cultural canvas, including theatre productions, quiz competitions, book launches, artistic showcases, music and dance performances, and culinary journeys, while also encouraging skill-building and cultural awareness.
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Highlighting the significance of the initiative, Malayendu Mukherji, Founder of Probashir Kantho, remarks, “This production reaffirms our commitment to keeping theatre vibrant and relevant in the Delhi NCR region while honouring Ajitesh Bandopadhyay’s lasting legacy.”
Suchandra Ray, another Founder of Probashir Kantho, said, “We at Probashir Kantho believe theatre is one of the most powerful ways to connect people through shared stories and emotions. Our endeavour is to keep the spirit of live theatre thriving and continue building a vibrant cultural space for audiences in the Delhi NCR.”
The Play Arsenic and Old Lace, originally penned by American playwright Joseph Kesselring in 1939 and later popularised by its 1944 film adaptation, remains one of the most celebrated dark comedies in the North American theatre landscape. The play is known for its witty narrative that presents murder with satire and humour. Revolving around a seemingly respectable family with the unusual habit of killing people, the play became a huge success for its clever blend of macabre comedy and social satire.
Inspired by this classic, Bitongsho presents the story of a strange yet darkly humorous family. At the centre of the narrative are two gentle and affectionate aunts who appear perfectly respectable from the outside. However, they are secretly engaged in what they believe to be an act of charity—“relieving” lonely old men of their misery. In their minds, they are performing a service to society.
Living in the same house is their nephew, who is convinced that he is a great historical hero. He spends much of his time digging holes in the cellar, believing he is carrying out an important national mission.
The situation takes a far more dangerous turn when another nephew suddenly returns home. A ruthless and cold-blooded murderer, he arrives with his accomplice after undergoing plastic surgery that has drastically altered his appearance. He plans to use the same house as a hiding place for himself and for the evidence of his crimes.
What follows is a whirlwind of confusion, fear, hidden bodies, and one unexpected twist after another. With its dark humour, eccentric characters, and fast-paced action, Bitongsho not only entertains but also offers a sharp satire on the strange impulses that can lurk behind a façade of respectability.
The production skilfully blended humour and suspense, offering audiences an engaging and thought-provoking theatrical experience.
Under the skilled direction of Badal Ray and Shoma Mukherji, Joseph Kesselring’s witty dark comedy comes vibrantly alive on stage in the Bengali adaptation Bitongsho. The set design by Sudip Biswas effectively establishes the atmosphere of the play. With its early-1900s-style wallpaper, dim lighting, and haunting family portraits, the stage initially resembles the setting of a classic horror story.
Though the narrative begins on a measured note, the dramatic graph steadily rises as the story unfolds, weaving together emotions ranging from horror and fear to affection, confusion, and surprise. The production, produced by Shantomoy Ray under the banner of Probashir Kantho, is brought to life by a spirited ensemble cast guided by the imaginative directorial duo of Badal Ray and Shoma Mukherji.
From beginning to end, Bitongsho proves to be a wickedly clever and thoroughly entertaining theatrical experience. Balancing dark humour with warmth, the production demonstrates how even a story centred on murder can turn into a delightful comedy—especially when served with a smile and, metaphorically, a splash of elderberry wine. With a cast of twelve performers, the production also provides a valuable platform for several local theatre talents to showcase their abilities on stage.
Among the performers, Shoma Mukherji, an academician by profession and passionate theatrical actress for a long time, delivers a confident and engaging performance as Manada Sundori (Choto Pishi), one of the seemingly gentle yet eccentric aunts at the heart of the story. Shantomoy Ray, a businessman by profession and a well-known figure of Theatrical Circle of Delhi, portrays the role of Boro Bhai Biswaranjan Ray with quiet restraint, effectively carrying a character that demands subtlety rather than flamboyance.
Abhishek Ghosh, Chittaranjan Ray ( Choto Bhai), and Raka Bhattacharya as Annada Sundori (Boro Pishi) lend a chilling yet engaging presence to the stage, creating characters that are both unsettling and darkly humorous.
A standout performance comes from Tarun Barua, who nearly steals the show as Dr. Sharada Prasanna Dasgupta of the mental hospital. His portrayal combines comic timing with dramatic flair, making the character one of the most memorable moments of the production.
Arindam Ghosh brings sincerity to the role of Mejo Bhai Shubhoranjan Ray, while Badal Ray appears on stage as Hare Ram Biswas, the inquisitive neighbour of the aunts. Suchismita Chowdhury plays Khuku, the neighbour’s daughter, adding youthful energy to the ensemble.
Pinaki Banerjee appears as Dr. Meghnad Saha, while Saranendu Chaki effectively portrays the unfortunate elderly gentleman whose presence contributes to the play’s darkly comic twists. The supporting cast is rounded off by Rabin Dasgupta as Police Officer Bishnu and Saibal Ghosh as Police Officer Nandi, both of whom add light-hearted moments that enhance the play’s comic rhythm.
Together, the ensemble delivers a lively performance that keeps the audience engaged, reinforcing Bitongsho as a delightful blend of satire, suspense, and theatrical charm.
The technical aspects of the production further enhanced the overall theatrical experience. The lighting design by Arunava Sengupta played a crucial role in shaping the mood of the play, subtly shifting between moments of suspense and humour. Through careful use of shadows and warm interior tones, the lighting effectively complemented the eerie yet domestic setting of the story, heightening both the comic and macabre elements on stage. Equally commendable was the sound design by Sanjay Das, whose well-timed effects and background cues enriched the dramatic atmosphere. The soundscape supported the unfolding action seamlessly, adding depth to key moments of tension, surprise, and comic relief.
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A celebrated work in world theatre, Arsenic and Old Lace is renowned for its sharp wit and intriguing narrative centred on an eccentric family guarding a startling secret. Bitongsho reinterprets this timeless story through a Bengali cultural lens, creating strong contemporary resonance while preserving the spirit and charm of the original.
Director Badal Ray says, “Presenting Bitongsho in the Bengali translation by Ajitesh Bandopadhyay adds a deeper layer of significance, as it honours his remarkable contribution to Indian theatre. The production distinguishes itself through crisp storytelling, compelling performances, and a nuanced exploration of morality, social conventions, and human complexity.”
Co-director Shoma Mukherji adds, “We wanted to stage a work that is both entertaining and intellectually engaging. The play uses humour to question societal norms, encouraging audiences to reflect even as they laugh.” Talking about the role of playing Manada Sundori (Choto Pishi), she says, “Manada Sundori is a character who lives in a world of her own gentle logic. What she believes to be kindness turns into something wonderfully dark and absurd. That contrast makes the role incredibly fun to play. Every moment demands innocence on the surface, while the humour quietly unfolds underneath. It’s a role that constantly surprises both the actor and the audience.”
Producer Shantomoy Ray shares, “We aim to create theatre that extends beyond performance. We strive to present stories that challenge audiences and linger in their minds long after the curtains fall. With Bitongsho, we bring forward a powerful narrative while celebrating the enduring theatrical voice of Ajitesh Bandopadhyay.” Talking about playing the character role Biswaranjan Ray (Boro Bhaipo), he says, “Biswaranjan Ray is a dangerous man hiding behind confidence and charm. He carries a dark past and an even darker intent, which makes him fascinating to portray. The character brings tension and unpredictability into the story. Playing him allows me to explore the sinister edge of the play’s dark comedy. It’s a role that thrives on intensity and surprise.”
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