The popular ‘Sri Krishna Rayabharam’ was staged in Vijayawada.

Urvashi and Lalitha were in focus at a Kathakali performance in Palakkad.

A staging of ‘Rukmangadacharitham’ Kathakali in the capital city brought together seasoned artistes.

Kavalam Narayana Panicker’s take of the classic play, ‘Abhijnana Shakuntalam’, with Manju Warrier in the lead, mesmerised the audience.

Naguvaaga Nakku explores the mother-daughter relationship in an intimate way

Purva Naresh’s “Ladies Sangeet” unravels multiple layers of gender, sexuality and marriage.

Here’s a lowdown on the three Tamil plays that are to be staged at The Hindu Theatre Fest.

Three productions this weekend bring to stage Indian classics and mythology

“Ek Baar Ki Baat Hai” – the solo enactment of four timeless stories kept the audience riveted for over two hours

Events leading up to Keechaka’s death was well captured in ‘Keechakavadham’.

The Gurusmarana festival at Ammannur Gurukulam, Irinjalakuda, highlighted the true role of a Chakyar in a play.

The play ‘Bhakta Markandeya’ by Savera Arts, Kadapa was gripping and entertaining.

He was extremely prolific, with a substantial body of work in television and appearing in popular advertisements as well.

Though Rajesh Singh failed to synthesise all the expressive ingredients of the play, “How to Disappear Completely andNever be Found” managed to evoke a sense of anxietyabout the world we live in.

As Mohammad Ali Baig’s “1857: Turrebaz Khan” opens in Edinburgh Fringe Festival this August, the playwright-director-actor talks about the heroic figure in Deccan history

Gireesan Sopanam’s histrionic skills, discovered rather fortuitously, has made him an integral part of the late Kavalam Narayana Panicker’s plays for the last 34 years.

Sabari’s story was retold on stage by Saveri Samskrutika Samstha.

The musical drama presented the story of the vaggeyakara’s life.

Prakash Bhatia and his cast make “Jis Lahore Nai Dekhya O Jamiya Hi Nahi” an intense experience.

‘Meera — the Soul Divine’ combined artistry and aesthetics, writes Jagyaseni Chatterjee

A play without a director and a different actor for each show, a search for identity through language and a coming-of-age tale are on offer in the latest edition of The Hindu Theatre Festival in Bengaluru

Sayeed Alam’s "Ghalib" speaks little, conveys a lot.

The politics of Mallige is limited and straightforward

The annual All Kerala Radio Drama Festival of AIR, beginning August 21, has a stellar line-up of mainstream actors.

Important episodes from the Ramayana were presented at a three-day Kathakali festival in Ambalappuzha.

Bapi Bose’s adaptation of “Ashad Ka Ek Din” sees Rakesh Mohan’s Mallika finally winning liberty.

Puppet theatre is much more than the doll with strings says Anurupa Roy as she and her team from Katkatha prepare for their production, The Mahabharata

The Frisky Suspenders, a farcical play, makes fun of the human weakness of jumping to conclusions

Tamil theatre can be a powerful social tool and has so much to offer, but sadly it has been given a short shrift says Dharani Dharan

The idea of a performance like Blank Page, directed by Sunil Shanbhag, came out of Tamaasha Theatre troupe’s exercises where poetry is employed to understand multiplicity of meaning

The crumbling facade of single-screen theatres on K.G. Road may not just be a sad metaphor for the quality of films... there’s more to it, perhaps?

Attempting to caricaturise the prevailing decline in the field of culture “Duvidha Urf@Taj Mahal Ke Lutere” fails to live up to the expectations.

The unique appeal of Pouranic verse drama came alive in the staging of ‘Bhaktha Prahlada’.

Vandichodai by Koothuppattarai was all about deep philosophy and questioning societal norms

‘Crazy Thieves in Palavakkam’ was the first play to be made into audio tape format.

Over three decades and approaching its 600th show, the Kannada play Mukhyamantri has made its mark as a classic. The play, with its meaning contemporary and dynamic, is a fine example of top notch acting, direction and content

The classic comedy of ‘Barrister Parvateesam’ was enacted brilliantly

Grand sets and chaste Tamil make a welcome change. Geetha Venkataramanan adds the background details

The four plays staged at “Hriday Manch-2016” were comic expositions exuding local flavour and style, writes Diwan Singh Bajeli

Timeri Murari talks about his new play and how Shakespeare’s works are still relevant today

Four years, and 100 shows, Mandya Ramesh’s Chama Chaluve continues to play to a full house. The highly skilled performance in the folk idiom borrows dynamically from several other genres

The rarely staged first part of ‘Subhadraharanam’ was performed in Edappally by a group of competent artistes.

Actress Neena Gupta on the special camaraderie of theatre and playing Hema Roy in Mera Woh Matlab Nahi Tha, to be staged in the city on September 18

‘Meevente Memuntam’ enacted the tussle between youthful independence and experience of parents.

Yuki Ellias gave the story a human and humorous touch

‘Maniyosai’ recounted Palghat Mani Iyer’s musical journey. Suganthy Krishnamachari writes

Shraddha’s ‘Aurangazeb’, for the lovers of history

Mohan Agashe tells us what pushed him to back “Atsu”, which deals with the growing problem of elderly care.