Dilip Guha ★ New Delhi : Recently, Delhi’s Japonchitro group staged the play Paap, an adaptation of Samaresh Basu’s story Pap-Punya at the C. D. Deshmukh auditorium, India International Centre, Lodhi Road, New Delhi. The play was written by Suman Tinku and directed by Suhan Basu, bringing Basu’s narrative to life with a theatrical interpretation.
Bengali renowned novelist Samresh Basu stands as a fearless and formidable critic of Bengali literature, wielding his pen not merely as an instrument of storytelling but as a weapon of truth. With unyielding conviction, he has dismantled the fragile illusions and hollow egos that shroud civilisation, exposing the raw, often uncomfortable realities that lurk beneath its polished veneer.
The storyline of the play “Paap” revolves around the complexities that come to the forefront after the death of Parvati.
After Parvati’s sudden and tragic suicide, her devastated father, Kalu, and her grief-stricken lover, Balaram, carry her body on the sorrowful journey to the crematorium. Stunned and disoriented by the abruptness of her death, they struggle to comprehend the torment that led her to such an irreversible decision. Through anguished introspection, they begin to relive her final moments, searching for the silent battles she fought at the precipice of farewell.
As the weight of her absence settles in, an unfamiliar pang of conscience overtakes them. Their grief gives way to self-reproach, forcing them to ask: Was Parvati truly alone in her suffering, or did her pain stem from something greater than herself? The burden of a tragedy like suicide does not rest solely on the victim—it extends to family, to loved ones, and to the relentless circumstances that shape one’s fate.
Something—a fleeting but fateful misstep—pushed Parvati beyond the edge. But what was that mistake? What was that ‘sin’? As the story unfolds, the veil of mystery begins to lift, revealing the truth in agonising fragments.
The playwright Suman Tikku says, “Samaresh Basu’s Pap-Punya unfolds in a straightforward narrative, but adapting it into a play demanded a shift in storytelling dynamics. Unlike prose, drama thrives on heightened tension, compelling conflicts, and moments of suspense—all elements that necessitate a departure from the original linear structure.”
“To fully embrace the essence of theatrical storytelling, the play ‘Paap’-Sin, though inspired by the Pap-Punya novel, introduces additional incidents that enhance dramatic intensity. Character names have been altered, and new figures have been woven into the narrative, enriching its complexity and emotional depth. These modifications are not merely changes but deliberate transformations designed to reinforce the theatrical experience.”
In terms of performance under the expert direction of Suhan Basu, the cast delivered a remarkable performance, showcasing an exceptional level of skill and artistry. Each actor and actress performed with impressive precision, significantly raising the overall standard of the production. The portrayals of the lead roles, with Suhan Basu himself playing the father of Parvati, Kalu, alongside Suman Kundu as Balaram, stood out remarkably, leaving a lasting impact on the audience. While Nabanita Chatterjee played the character role of Parvati, her occasional portrayal of Parvati was exceptional, adding depth and complexity to the protagonist’s character. As the story evolves through flashbacks of her interactions with her grief-stricken lover, Balaram, her skilful acting reveals the tragic events of Parvati’s past in a profoundly moving way.
The supporting characters add depth and authenticity to the play. Arnab Basu portrays Jogai, bringing nuance to his character through a standout performance. Raka Bhattacharya shines as Kamala, delivering an emotionally compelling portrayal. Biswajit Ghosh takes on the role of Dome, embodying the character’s essence with conviction, while Sukumar Sardar, as Grambasi, lends credibility to the narrative with his engaging presence. Together, their performances seamlessly contribute to the play’s immersive storytelling and ensure that every scene resonates with the audience.
The elegant atmosphere on stage is further enhanced by Ranjan Basu’s lighting design, Sourshanta Biswas’s music direction, and Sanandita Chatterjee’s music projection. Simple yet effective set management by Sudeep Biswas contributes to the play’s immersive experience.
There are a few flaws noted in some places. At times, the background music disrupted some of the play’s intense moments, making the dialogue difficult to hear properly sometimes.. However, overall, the play runs smoothly as skillfully blending music and emotional nuances, the play delivers a mesmerising rendition that captivates audiences.
