A life on stage: PC Ramakrishna’s 60-year journey in theatre
A stalwart of The Madras Players, the oldest English theatre group in India, he has witnessed and shaped the evolution of English theatre from European classics to Indian narratives. To mark this journey, the group presents A Retrospective, with three of his landmark productions — Water, Lakshmikantan, and Mercy. Each play reflects his passion, innovation, and lifelong commitment to Indian storytelling on stage.
PC Ramakrishna marks 60 years on stage with A Retrospective
We speak with him about his journey, his reflections on theatre, and the lessons he hopes to pass on to the next generation.
What inspired you to become a theatre artiste?
I grew up in Kolkata in the 1950s, where Bengali theatre was vibrant with actors like Tripti Mitra. School and college theatre kept that passion alive. I started as an actor in 1965. My first direction at Loyola College in 1969 led to an invitation to join The Madras Players, which shaped my journey in English theatre.
Why these three plays for A Retrospective?
Water was the first full play I directed; it tells the story of a water-starved village in Tirunelveli. Lakshmikantan commemorates the famous 1944 Madras High Court murder trial. Mercy explores the trauma and moral dilemma of a devoted husband managing his wife’s illness, adapted from Sivasankari’s 1978 novel Karunai Kolai. All three are deeply meaningful to me.
2025 marks your 60 years in theatre. Looking back, what strikes you most?
Till the ’90s, we performed European and American plays. With writers like Girish Karnad, Vijay Tendulkar, and Badal Sircar, Indian plays started coming to the fore. Girish Karnad acted with us, directed us, and opened our eyes to Indian literature.
What is the single best piece of advice you received early in your theatre journey?
“Follow your passion and be true to your creative instincts.” If you believe in yourself, your audience will follow. Never underestimate them; they are the raison d’être for you to be on stage.
What are the life lessons that theatre has taught you?
Theatre teaches collaboration like no other medium, listening, and understanding people. It’s a heady experience, working together for months on stage, exchanging energy, and growing through shared creativity. Most importantly, theatre is art imitating life. So one has to live a role with total understanding of life, humility, and passion.
How have you evolved as a director?
With age, experience, and working with younger actors, I bring new insights. I encourage actors to explore characters from within. I value their input, making the process collaborative and democratic. I now integrate music and dance into theatre, evolving from nadagam to iyal, isai, and nadagam.
Do you see theatre primarily as entertainment, as social commentary, or as a form of personal truth-seeking?
If I am honest in telling the story and true to the writing and characters, it could work as a social commentary, but that is not my primary intention. As for personal truth-seeking, I am neither that vain nor masochistic.
Over 60 years in theatre, have you developed any personal rituals or ways of marking the moment after a play ends?
I am not ritual bound. I try to be disciplined and honest and encourage my actors to be so, too. I have learnt to enjoy, and in fact, learn from what they bring to drama. I celebrate the ‘process’ of drama with them, whether the play ultimately is a success or not. “The play’s the thing,” as Hamlet said.
What do you hope younger theatre makers take from your journey?
Passion for theatre. Explore your own path, learn from tradition, but make it your own. Younger groups in Chennai are doing excellent work, and it’s heartening to see their creativity and dedication.