In an age where stories are scrolled through in seconds, where emotions are conveyed with emojis, and applause is measured in likes, something unique unfolded at Ravindra Bharathi. Children, usually glued to reels and cartoons, sat wide-eyed as the beats of the Oggu Katha echoed through the auditorium. It marked the beginning of DORA, a folk-infused retelling of Don Quixote, and with it, the opening of ‘XPRESSION 2025 (Season 3)’, a three-day multilingual national theatre festival.
Organised by Shudrka Hyderabad Shilpitirtha Trust in association with the Department of Language and Culture, Government of Telangana, the festival brought together theatre groups from across India. Showcasing performances in multiple languages and styles, alongside seminars and workshops, the event celebrated the diversity and depth of Indian theatre. This year’s edition paid special tribute to three cultural icons on their birth centenaries — dramatist Badal Sircar, filmmaker Ritwik Ghatak, and music composer Salil Chowdhury.
The festival opened with DORA, a Telugu adaptation of Cervantes’ Don Quixote by Shudrka Hyderabad. Blending the classic tale with Oggu Katha, a traditional folk art form of Telangana, the play was a spirited mix of rhythm, storytelling, and humour. What made it even more special was its dedication to homebound and underprivileged children, giving many of them their first experience with the magic of live theatre.
The evening continued with Matir Jonno, a Bengali play by Gorjoypur Saptarshi from West Bengal. Inspired by Rabindranath Tagore’s Dui Bigha Jomi, the play powerfully portrayed the pain of landlessness and displacement, expressed through the martial elegance of Purulia Chhau dance. It was a stirring performance that wove together folk tradition and deep social commentary.
Day two began with Beej, a third theatre piece by Samatat Sanskriti (Uttarpara, West Bengal), inspired by Badal Sircar’s vision of collective revolution. Exploring themes of awakening and action, the play echoed the urgency of grassroots change. The day also featured a musical tribute to Salil Chowdhury, with Shudrka members performing two of his iconic songs, filling the hall with a wave of nostalgia.
A highlight of the day was the seminar by Prof Sanjoy Mukhopadhyay, titled ‘Ritwik Ghatak: Cinema as Protest, Cinema as Poetry’. The session offered rich insights into Ghatak’s life and work, illustrating how his films were both political and profoundly poetic.
The day concluded with Manto Ke Afsane, a Hindi production by Shapno Ekhon (New Delhi). The play wove together several of Saadat Hasan Manto’s bold and deeply human short stories, using sharp monologues and excerpts from his own writings. It was raw, unapologetic, and deeply impactful.
“Every play at XPRESSION 2025 was chosen not just for its artistic value but to reflect the many faces of our society,” said Souravi Ray, spokesperson and actor, Shudrka Hyderabad Shilpitirtha Trust. “From land rights to marginalised voices, from reinterpretations of classics to multilingual explorations, the festival proved that theatre remains one of the most powerful mediums to tell stories that truly matter,” she added.
The final day featured two major performances. The first was KOLAJ, a multilingual collage of six plays by Badal Sircar, performed in Hindi, Bengali, Telugu, and English. Directed by Swapan Mondal, the play brought together scenes from Uddyogporbo, Pagla Ghora, Michil, Bhoma, Khat Mat Kring, and Spartacus. Rather than replicate Sircar’s original style, the team gave it a fresh, contemporary interpretation while preserving his fearless political voice.
This was followed by a thought-provoking conversation with renowned critic and editor Samik Bandyopadhyay, who reflected on Sircar’s life, theatre philosophy, and lasting contribution to Indian drama.
The festival concluded with Gattar, a powerful Marathi play by Bahujan Rangbhoomi (Nagpur). Addressing the grim realities of caste discrimination and sanitation labour, the play delivered brutal honesty and emotional depth, making it a fitting end to a festival unafraid to confront real issues through art.
In addition to the performances, XPRESSION 2025 offered two immersive workshops — one on stage lighting and makeup, and another on Chhau dance. These sessions gave enthusiasts and aspiring artists a glimpse into the behind-the-scenes craft of theatre.
Reflecting on the festival’s journey, Souravi Ray shared, “As a group, Shudrka has limited to no financial means. We’re also short on manpower. The idea of organising a three-day festival — inviting outstation groups, conducting seminars and workshops, publishing souvenirs, and managing in-house productions — was daunting, to say the least. But we believe in inclusivity and in creating a platform that celebrates diversity. Theatre builds human connection, and that’s what gave us the courage to take the leap. We’re happy to say that many people stepped in to support us and that made all the difference.”
XPRESSION 2025 was a bold celebration of stories — stories that matter, stories that move, and stories that remind us why theatre still holds a mirror to society, sharper than any screen.