‘Diabolical Minds’ by Poochu’s Productions brings six gripping stories from the scenes of crime

If you thrive on mystery, relish the pulse-pounding thrill of suspense, and revel in the art of unraveling intricate crimes, then Diabolical Minds is the series you’ve been waiting for. A groundbreaking creation by Poochu’s Productions, this anthology redefines the crime genre with a tantalizing mix of dark intrigue and sharp twists. Never one to shy away from innovation, Poochu’s Productions once again pushes the boundaries of storytelling, harnessing the power of the stage to bring these compelling tales to life. Get ready to dive deep into a world where every clue leads to more questions and every shadow hides a new secret. Diabolical Minds promises to be an unforgettable journey into the heart of crime and the minds behind it.

Pooja Rathore, who has curated this anthology, tells us the reason behind coming up with this idea. “At Poochu’s, we’ve never shied away from exploring diverse storytelling formats—we’ve ventured into musicals with Once Upon a Musical, celebrated the power of women in theatre with Shensemble, delved into monologues with Enter Stage, and, of course, crafted unforgettable musicals. But as we looked at our body of work, we realised there was one genre we hadn’t yet explored: the world of crime. And that’s how Diabolical Minds came to life,” Pooja says, adding, “Putting this anthology together wasn’t a walk in the park, though. I reached out to a number of writers to see if they had crime stories in the works, but the real challenge lay in the format. These stories had to be told in just 15 minutes—an incredibly tight time-frame for a genre that typically demands a slow burn of suspense, intricate plotting, and a carefully constructed mystery. Yet, despite the pressure, the six brilliant writers and directors involved truly rose to the occasion, packing intense drama, tension, and thrilling resolutions into every single minute. I’m beyond excited for audiences to experience these gripping tales unfold on stage!”

Open Pannaa (Tamil): Abhishek Srinivasan

When a quirky group of cinema enthusiasts decides to spend the night at a marriage hall discussing a newly written script but the eccentric hall owner is also the producer, things take a bizarre turn. They find a dead body in the hall, and try to investigate how the murder might have happened. But there is a hilarious twist at the end.

“Most people associate crime thrillers with intense drama—blood, murder, ominous music, and a heavy atmosphere. But we wanted to take a different route,” says Abhishek Srinivasan, the writer and director of this play. “We crafted the suspense with all the intrigue of a classic crime thriller, but with a surprising twist—a humorous ending. The original script was an hour long, but we distilled it down to just 15 minutes, while preserving its core essence. The challenge was in keeping that sharp suspense and dark tension, but delivering it with a lighthearted punch.” 

Sindhan.AI (Tamil):  Navaneeth

In today’s digital age, a sinister medical underworld is at play, where newborns are transformed into mere digital puppets. Every trace of a baby’s existence is captured and digitized, creating virtual imprints so powerful that they could reshape the very fabric of human behaviour. At the heart of this disturbing experiment, a mother and her son find themselves trapped in a digital prison. The mother is unaware that her child even exists, and the child has no understanding of what a mother truly is. It’s a harrowing struggle between the relentless march of technological advancement and the complexities of the human mind.

“When most people think of crime, they tend to focus on its darker, more violent side. But the truth is, there’s an entire underworld of intellectual crimes that often go unnoticed—like data scams, online phishing, and cyber fraud—that deserve just as much attention. Bringing such a nuanced narrative to life in just 15 minutes is a real challenge, but it’s also a thrilling experiment in storytelling. The question is: how do you encapsulate an entire digital crime world in such a short time, and deliver it with impact? We’re constantly pushing ourselves to tackle these lesser-discussed, yet highly relevant topics. At the same time, the rise of new-age technology has given us an exciting edge in both writing and execution, allowing us to explore these complex crimes in fresh, compelling way,” says Navaneeth, director of Sindhan.AI.

Our Man in Madras (English): Prashanth Oliver

James Sieg, a cog in a giant corporate machine, sees a big opportunity to change his life when the man in Madras brings him some devastating news.

Adapted from the haunting, one-act play by German novelist and playwright Gert Hofmann, Prashanth Oliver, says, “I watched the film adaptation of the play, and I couldn’t help but think how perfectly it would translate to the stage. It’s a raw, unflinching exploration of humanity, particularly the lengths we’ll go to when one side of society is grappling with a crisis, while the other sees it as nothing more than a stepping stone to further their own ambitions. The play raises a haunting question: how much suffering are we willing to overlook in order to advance our own interests? The moral implications are heavy, and the tension between exploitation and empathy is palpable.”

The script itself is tightly woven, fitting into a mere 15 minutes of stage time, but therein lies the challenge: capturing the full emotional impact of such a layered piece without losing momentum. “The dialogue is rich, verbose even, with all the action unfolding through words. The real difficulty lies in balancing the need for clarity and comprehension with the urgency of maintaining the play’s swift, relentless pace. Every line must land, and every beat must hit its mark, or the power of the piece could get lost. It’s a tightrope walk, but when done right, it promises to leave the audience thinking long after the curtain falls,” he adds.

Kathiyinmai (Tamil): Harini Suruliraj

Kathiyinmai is a gripping, true story about an innocent man framed for witnessing a registered marriage. Tragedy strikes when one partner is murdered in an honor killing, while the other is paralyzed by helplessness, unable to react.

“The term Kathiyinmai—meaning helplessness—captures the essence of the woman’s silence, a profound reflection of both her emotional turmoil and the deep strain on her mental health,” says Harini. “It’s a powerful exploration of injustice, powerlessness, and societal oppression.” She continues, “With only 15 minutes to tell the story, I chose a non-linear approach, starting from the end and coming full circle. Instead of building up, I focused on the incident itself. A key element is an original song by Vigneshwar, which plays during the honor killing scene, adding emotional depth in the absence of dialogue.”

Anirudhan (Tamil): Muruganandham Selvaraj

Anirudhan is story about a person who has been following rules and social norms all through his life but is still wronged by everyone around him and decides to speak up.

Written by Aravindh Sachidanand, the script posed a unique challenge, with its multitude of characters and intricate layers. “For me, directing a thriller was a first—a thrilling experience in itself. Crime thrillers, especially, are tough to capture on stage, as they rely on cinematic tools like editing, close-ups, and background music to heighten tension. On stage, however, the intensity must come from the actors and the atmosphere alone, which is no easy feat. But we’ve poured our efforts into bringing that edge-of-your-seat suspense to life. We can only hope the audience feels the same electrifying intensity we’ve aimed to create,” says Muruganandham Selvaraj, who has directed Anirudhan. 

Dial B for Beasant Nagar (English): Prasanna Rajaram

Two women navigating the ups and downs of life—heartbreaks, fleeting moments of joy—all while a serial killer lurks in the shadows. It’s a wild, offbeat comedy that thrives on absurd situations demanding even crazier actions, wrapped in a classic whodunit mystery that unravels in the end.

 “When Pooja approached us about Diabolical Minds, we knew this play was the perfect fit, and we dove in immediately,” says Prasanna Rajaram, director of the play. “The 15-minute time frame is both a blessing and a challenge. Condensing the story without leaving any loose ends is always tricky, especially when it’s so tempting to stretch beyond the limit. A bit of ruthless editing is key. It’s all about distinguishing between what’s essential and what’s nice to have, which makes the process of trimming a bit easier.”

Tickets at INR 250 and INR 350.

November 17, 4 pm & 7 pm.

At Alliance Française of Madras, Nungambakkam.

 Email: rupam@newindianexpress.com

X: @rupsjain