Dus Yaari Revisits Regret and Redemption in Jodi Aar Ekbar
Shankha Bhattacharyya
On the evening of April 19 at 6 PM, Uttam Mancha of South Kolkata resonated with the layered voices of yearning, regret, and revelation, as the theatre group Dus Yaari presented a stirring performance of Jodi Aar Ekbar, one of the seminal works of legendary Bengali playwright Badal Sircar. The production, directed by Suchita Ray Chaudhury, unfolded before a packed and attentive audience, offering a poignant tribute in the centenary year of Badal Sircar’s birth.
Badal Sircar (1925–2011) remains one of the most influential figures in Indian theatre, particularly known for pioneering the “Third Theatre” movement—a break from the confines of proscenium theatre in favour of open, participatory, and socially conscious performances. Born on July 15, 1925, Sircar’s artistic journey was marked by fearless innovation and unwavering commitment to socio-political truth. After a period of engagement with conventional theatre from 1968 to 1973, he deliberately turned away from stage-bound narratives, choosing instead the raw immediacy of open-air, non-hierarchical spaces. In recognition of his contribution, he was awarded the Sangeet Natak Akademi Award in 1968 and the Padmasree in 1969. A hundred years since his birth, his themes remain urgent, and his voice undiminished.
Jodi Aar Ekbar, first staged by Bahurupee at the Academy of Fine Arts on February 26, 1976, is a reflective, almost philosophical exploration of human desire and disillusionment. The title, which translates as “If Only Once Again”, encapsulates the play’s essential dilemma: the eternal human yearning for a second chance. The play is built around the haunting realisation that “we desire wrongly, and what we receive, we no longer want.” Drawing intertextual resonance from Tagore’s Ichhapuron and Parashuram’s Dhashtoori Maya, the drama presents a mosaic of characters who each confront their own forms of unfulfillment. Their collective longing—“If only we had another chance…”—eventually gives way to a deeper truth: that perhaps the lives they left behind were more bearable than the illusions they chased. The play closes with a ritualistic, almost meditative refrain: “O Mahadev, may everything return to as it was before, all weapons back to where they belong,” signalling a return not to stasis, but to hard-won clarity and peace.
Among the performers, Arindam Mukhopadhyay delivered a standout performance as Sanjay. With a nuanced understanding of his character’s internal conflicts, he navigated the emotional terrain with precision and restraint. His presence anchored the production, providing both intensity and empathy. The rest of the cast also rose to the occasion, offering memorable performances: Navanita Chakravarty as Bonolata, Monikuntala Rudra as Karuna, Varsha Dutta as Atashi, Kaushik Maitra as Satyasindhu, Rajib Lahiri as Ratikanta, Arup Kumar Mitra as Brijlal, and Piyas Chakrabarti in the spiritually inflected role of a Genie. Each actor brought sincerity and gravitas to their roles, contributing to a well-balanced and emotionally resonant ensemble.
The technical aspects of the production further enhanced its impact. The lighting design by Uttiya Jana was particularly commendable, evoking shifting emotional landscapes through subtle yet expressive transitions. Echoes of master designer Tapas Sen could be seen in the precise interplay of shadow and illumination. The minimalist stage design was elegant in its restraint, allowing the actors and the text to take centre stage. The sound design was atmospheric, never intrusive—an unobtrusive yet vital threads binding the scenes together.
Suchita Ray Chaudhury’s direction honoured the original text’s philosophical depth while infusing it with a sharp sense of immediacy. The narrative pacing was deliberate, giving space for introspection without slackening the dramatic tension. Under her guidance, the ensemble performed with a cohesion and clarity that made each character’s arc compelling.
In sum, Dus Yaari’s production of Jodi Aar Ekbar was a moving homage to Badal Sircar’s enduring genius. With thoughtful direction, committed performances, and a deep respect for the source material, the play resonated powerfully with its audience. In a year that celebrates a century since the birth of one of India’s most visionary dramatists, this staging was more than a performance—it was a reminder of how vital, how necessary, and how timeless his questions still are.