This World Theatre Day, we shine a spotlight on the dynamic evolution of theatre in Hyderabad

The city’s cultural landscape has been heavily dominated by theatre. Renowned playwrights from around the world find a stage here, with some groups staying true to the originals while others infuse their own elements to keep the narratives relevant. We speak to key figures in Hyderabad’s theatre world who are leaving their mark in their unique ways of storytelling.

In recent years, the retelling of mythology has gained immense popularity, offering fresh perspectives on age-old tales. These narratives challenge traditional portrayals, exploring the complexities of legendary figures beyond their convention al roles. Ravana Ravanamu by Nishumbita is one such reimagining — delving into the mind of Ravan, the mighty king of Lanka, who is often remembered as the antagonist of the Ramayan.

Yet, beyond his towering presence, Ravan was a man of immense wisdom, an ardent devotee of Lord Shiva, and a ruler blessed with unparalleled knowledge. This production, brought to life through physical theatre, showcases the internal conflict he faces during the war. “His 10 heads were not just a symbol of power but representations of his internal struggles — each voice a facet of his mind, battling between devotion, dharma, and ambition,” says Ram Holagundi, the director of the play.

While there are multiple English theatre groups, regional theatre is just picking pace. companies who want to encourage the folk forms and regional literature are slowly on the rise, and are making a mark in the scene. Shudrka, one such theatre group, is known for its regional adaptations to make classic tales more relatable. They take the plays of eminent playwrights from across the world, and either rewrite it in Telugu adapting folk formats, or present the original version of it in regional languages.

One such play, Dora, written and directed by Swapan Mondal is an adaptation of the stories of the Spanish novel Don Quixote by Miguel De Cervantes. “This play is presented in the format of an Oggu Katha, a folk form of theatre from Telangana, originally performed in praise of gods,” says Swapan Mondal, the director.

Another interesting play presented by Shudrka is Oka Anokha Roopkatha Chalk Circle, a multilingual adaptation of The Caucasian Chalk Circle by the German playwright Bertolt Brecht. as the title suggests, this drama is performed in Telugu, Bengali, Hindi and English simultaneously.

There are very few groups in Hyderabad who experiment with formats and messages conveyed through the plot. Theatre group Sifar touches upon some pressing issues while presenting it with hints of comedy. “At the face of it, the play will leave you in splits, but after the audience ruminates on it, they will understand the depth of each dialogue,” says Feroze, the founder of Sifar.

One such play, Hazaaro Khwaishen is a story about mental health, and how one must think twice before taking a bold step. The interesting aspect of this play is audience interaction, where every member will invariably play a role. They either help the character on stage take an action, or become a character themselves.

The play is performed with the audience on either sides, making the interaction easier and more immersive. Despite a heavy theme, the involvement of the audience and inclusion of comedy makes sure the emotional remnants are not felt.

Life and death are inseparable forces, weaving the fabric of our existence. life is vibrant, brimming with emotions, connections, and dreams, while death remains the quiet certainty that follows. Yet, even in its fleeting nature, life lingers in memories and love left behind. Passwala, an intriguing play by Sutradhar, explores this profound theme.

Directed by Vinay Verma, the play is adapted from an interview with a crematorium keeper at a government crematorium in Worli, Mumbai. Through the eyes of the Passwala, it delves into the inevitability of death and the transient nature of life and relationships.

“Many attend funerals, but few understand the intricate rituals of burials or cremations,” says Vinay. The solemn crematorium stands as life’s ultimate equaliser. Yet, for those who reside within its walls, death is simply a part of existence — they celebrate births, solemnise marriages, and continue their lives amidst an ever-present ghostly backdrop.

As the saying goes, theatre mirrors society, and it’s fascinating to see enthusiasts push creative boundaries. By experimenting with diverse styles, they are redefining storytelling and bringing fresh perspectives to the stage.