22/03/2026
Theatre Review - BHANU (ভানু)
A joint production of Mukhomukhi and Tritiyo Sutra.
Play written by Ujjwal Chattopadhyay, based on Anton Chekhov's Uncle Vanya.
Directed by Suman Mukhopadhyay.
The story unfolds on a rural estate once owned by professor Niladri's late first wife, now funding his and young second wife Ela's urban life.
Bhanu, the late wife's brother and estate caretaker, and local doctor Atanu both succumb to Ela's allure amid their monotonous existence, while Sukanya—Niladri's daughter from his first marriage—harbors unreturned love for Dr. Atanu. Tensions erupt when Niladri plans to sell the estate for higher returns, shattering Bhanu.
This adaptation infuses Chekhov's exploration of wasted lives, unfulfilled desires, and rural stagnation with Bengali sensibility, highlighting exploitation, emotional isolation, and breaking points under self-serving authority. Themes resonate through provincial ennui, unrequited passions, and the clash between sustenance providers and urban beneficiaries, rooted in faithful yet vivid translation.
Debshankar Halder's Bhanu excels as a decent yet tormented everyman: irritated and discontent with life's monotony, prone to emotional outbursts, wielding sarcastic dialogues with pitch-perfect delivery and compelling body language—particularly in aggressive confrontations and his palpable fear of losing his lifelong shelter; his wide emotional range, tonal shifts, and raw physical longing for Ela make him the pulsating heart of the play. Worth mentioning the scene where Bhanu's sudden aggressive outburst at his nagging mother for his criticism of Niladri and Ela crackles with visceral intensity.
Anandarupa Chakraborty's portrayal of Ela, the glamorous young second wife, radiates beauty and sensitivity amid her constrained life; confused by swirling affections—including a past fling with Bhanu and her own love for the doctor—she wearily resents being dismissed as a fortune-seeker, yearning instead for genuine connection; her nuanced performance, from silent swing solitude to vulnerable forgiveness scenes, captures Ela's emotional depth with captivating grace. That reconcile scene with Bidipta's Sukanya was beautifully choreographed with music as they share drinks, brims with tender reconciliation.
Suman Mukhopadhyay's Dr. Atanu delivers bold, straightforward passion for nature, consistent restraint with frustration bursts, and alcohol-fueled loneliness.
Bidipta Chakraborty's caring, patient Sukanya; Biswajit Chakraborty's insecure Niladri; Ashim Roychowdhury's simple Shyamapada; and Krishna Dutta's pragmatic mother round out a nuanced ensemble.
The set design represented a rustic estate with wooden benches, simple tables, draped fabric backdrops suggesting rooms or curtains, and swing as symbolic focal points—enhanced by a dark stage for intimacy. Light design focused spotlights on key actions against deep blacks, heightening drama without overwhelming the space. Costumes presented rural Bengal, practical with subtle period touches. Natural makeup which emphasized expressions. The direction was masterfully composed, balancing intimate character beats with ensemble movements to create a seamlessly integrated theatrical experience. Worth mentioning, the drunk sequence where Bhanu, Shyamapada, and Atanu singing atop benches was orchestrated very well on stage maintaining the chaotic camaraderie. Also need to mention the contrasting scene where Ela's silent sway on the swing during adjacent room agitation was excellent. Songs sung by Bidipta and Anandarupa weaved melodic poignancy. This riveting production fuses timeless Chekhovian melancholy with sharp Bengali cultural insight for a must-watch theatrical experience.
