'Great National', 'Star' & 'Bina' Theatre | Birth of the Bengali Playwrights |  Girish Ghosh & his contemporaries | Sisir Kr. Bhaduri & his contemporaries

These private theatres, mostly possessed by the moneyed people, boosted the growtl of amateur theatres founded by clubs and societies. Gradually, there was a rise of strong demand among the theatre-crazy middle class Bengalees, for more commercial theatres for the masses. 'Bag Bazar Amateur Theatre' under the auspices of Girish Chandra Ghosh, Ardhendu Mustafi and Nagendranath Banerjee played the pivotal role in this regard. Dinabandhu Mitra, the eminent dramatist, was another patron. 'Sadhaber Ekadashi', an all time great social comedy by Dinabandhu Mitra, was this society's first production in 1868. His another remarkable play 'Lilabati' was another landmark in 1872.

In August, 1868, the demand for a public theatre was expressed in the journal 'New Essays.' The Journal appealed to the amateur groups to get together, build a play house, engage salaried actors and actresses, sell tickets and meet the expenses with the sale proceeds. None of these noble suggestions were implemented but a new era in the history of Bengali Theatre was about to blossom.

Then a group was formed with some enthusiasts in the courtyard of Madhu Sudan Sanyal's mansion in Jorasanko at Rs. 40 a month. They christened it as the National Theatre. After building a stage, they announced their maiden show to be held on 7th December, 1872. They staged the play 'Nildarpan' which was a vehement protest against the inhuman exploitation and cruelty of the indigo planters. The 'English Man' was infuriated but the local newspapers spoke highly of it. The 'National Paper' by Nabagopal Mitra, called it 'an event of national importance' and it was restaged after a fortnight.

Rev. James Long published an English translation of 'Nildarpan' which might have been penned down by Michael Madhusudan Dutta. At the inception, Long was sent behind the bars but gingerly the Europeans started liking this play. A special show was arranged exclusively for the Europeans on 19th April, 1873 which was applauded by everybody present. Now, 'The Englishman' wrote, "The really conspicuous talent for histrionic art possessed by the Bengali, cannot be seen to better advantage than in this drama."

Henceforward, public theatre got a major boost and grew rapidly. Girish Ghosh had strongly objected to the sale of tickets and alienated himself from the National Theatre in view of his later success in commercial terms. He joined it later when another creative genius Ardhendu Mustafi abandoned it to form the Hindu National Theatre. At the Opera House, a former English Theatre on Lindsay Street, the H.N.T. was launched with Michael Madhusudan Dutta's unique play 'Sharmishtha' on 5th April, 1873. The play flopped miserably because the venue was not at all ideal for a Bengali play house. For replenishing its funds, it started touring the districts.

The split in the National Theatre revealed the naked strifes and ego clashes prevalent in Bengali Theatre in those days. Theatre was now patronized by the rising middle class along with the affluent donors. Gradually, hard-core merchants also started to join the theatre bandwagon. The Minerva Theatre was financed by a Rajasthani businessman. Soon after, permanent playhouses started to evolve. The first to appear was the 'Bengal Theatre' in August 1873 at a place where the Beadon Street post office stands today. It cost Rs. 15,000, a mammoth sum in those days. It engaged actresses from the brothels because women from respectable backgrounds were not available for acting. There were huge protests from all corners but in vain. Soon, other theatre companies adopted the same formula.

'Great National', 'Star' & 'Bina' Theatre :
'The great National Theatre' with a galaxy of distinguished actors, was opened at Beadon Street on 31st December, 1873. The company folded up in October 1877 and its name and proprietorship was changed. The Minerva Theatre was built in 1893. The old building was incinerated and the present building started in 1922.

'The Great National Theatre' played a stupendous role in shaping up Indian theatre. An eminent Indian lawyer, Jagadananda Mukherjee, had brought the ladies out of the 'purdah' of the conservative society to greet the Prince of Wales, who came to Calcutta in 1876. The traditional, conservative Bengali Society got a jolt from the blue and it was manifested in a farce-show. To stop such farcical works, the Viceroy Lord Northbrook issued an ordinance, empowering the Govt. to ban the plays 'which are scandalous, defamatory, seditious, obscene or otherwise prejudicial to public interest.' Later, in the same year, this decree was ratified by the 'Dramatic Performances Act'.

The legendary 'Star Theatre' of Calcutta, first built at 68, Beadon Street in 1883, was later moved to bigger premises at Cornwallis Street (today's Bidhan Sarani). Binodini Dasi, has written how the building was partially built by themselves. Binodini herself carried lumps of earth and paid the labourers to work faster. The Minerva and the Star denoted the emergence and consolidation of Bengali Commercial Theatre. The Star has kept ablaze the flames of the glorious tradition of Bengali Theatre for over a century. The original 'Star' in Beadon Street, became in due course of time 'The Emerald', 'The Classic', 'The Kohinoor', 'The Manmohan' and 'The Natyamandir' before it shifted to Central Avenue.

Within a period of 3 decades, evolved a 'gharana' or separate style of acting and production techniques in Bengali. Theatre had, by then, become an important medium to curb and influence the views and beliefs of the Bengali middle class and the gentry. It receive a tremendous coverage in the Bengali and English newspapers. It raised hot debates and were discussed in the Bengali households. The puritanical, social reformers, were however piqued up. Rajkrishna Roy was an exception to this latter school of thinking. He staged many bold plays at Bina Kangabhumi on Mechhua Bazar Street. Here, men played the female roles and admission was negligible. So, he met with little success despite the courageous and commendable works. The 'Bina', with the passage of time, went through several change of ownerships and finally was taken over for showing 'movies' which exhibits to this very day.

Birth of the Bengali Playwrights :
Now, the candid fact is that a theatre needs a constant supply of healthy plays to survive. But at the primary phase of Bengali Theatre, producers had to suffer an appalling crisis of new plays. So, they relied chiefly on transliterations and adaptations from voluminous Sanskrit and English contents. However, the increasing popularity of theatre gave birth to the Bengali playwrights. Ramnarayan Tarkaratna was (1822-64) the pioneer in this regard. Soon, Michael Madhusudan Dutt, the versatile genius, followed his footsteps with 6 marvellous plays. Two of his plays were exquisite specimens of satires. Then came Dinabandhu Mitra, a more involved, adept and introspective craftsman with greater social commitment. He virtually enriched and strengthened the foundation of Bengali drama.

Another type of plays – the 'instant' plays were devoid of any literary or aesthetic touch. There were also the narrative poems and dramatization of novels, chiefly from Bankim Chandra Chatterjee and Rabindra Nath Tagore's short stories. However, some stalwarts like Manomohan Basu (1831-1912), Jyotirindranath Thakur (1845-1925), Amritalal Basu (1853-1929), Girish Chandra Ghosh (1844-1912) and Rabindra Nath Thakur (1861-1941) went on composing commendable dramas.

Manmohan Basu is accredited with the technique of inducting music into his plays. Jyotirindra Nath Thakur concentrated on translating Sanskrit plays and French comedies. Amritlal Basu was inextricably linked with the theatre as an actor-producer. He was also a gifted playwright and a manager of his productions. He had written thirty plays and earned the nom-de-plume of 'Rasaraj' or king of humorists for his excellent comedies.


The play 'Raja Rani' written by Rabindra Nath was first produced in 1890 at the Emerald Theatre. Then onwards, his early plays were staged in several public theatres at regular intervals. He wrote about 60 odd plays out of which only fifteen were staged in his lifetime. His compositions were too esoteric and were unintelligible to the producer as well as the common man. 'The Star' hosted one of his gravest symbolic plays 'Grihadaha' while he was alive.

Girish Ghosh & his Contemporaries :
But it was Girish Chandra Ghosh, one of the biggest giants of Bengali theatre, who catered to the middle class emotions, sentiments and interests through his farces, burlesques, musicals and fantasies. He also composed social dramas, religious or quasi-historical plays. In a nut-shell, he appeased the audience with his serious plays, burlesques, comic interludes and patriotic fervour.

Girish Ghosh introduced innovative techniques in metre and rhythm of dramatic language. He introduced modulation in tone and style of the actors. Inspired by Shakespearean ideals, he staged 'Macbeth' at the 'Minerva' on 28th January, 1893. When the public rejected it, he was deeply afflicted and remarked that the Bengali audience was mostly lenient to songs, dances and petty affairs of sorts.

Girish Chandra reigned in the world of Bengali Theatre for 4 decades. He was an outstanding playwright, actor, producer, manager and teacher – all rolled into one. Several other extraordinarily gifted playwrights and actors joined Girish Ghosh viz. Ardhendu Shekhar Mustafi (in the first production of 'Nildarpan' he acted 4 different parts including a female one), Amritalal Basu, Mohendralal Basu, Sarat Chandra Ghosh, Motilal Sur and Amritalal Mitra. There were some exceptional actresses like Sukumari Dutta, Golapbala, Kusumkumari, Kshetramani and above all the inimitable Binodini Dasi. She was an innate genius and acquired techniques from her mentor Girish Ghosh and by watching the English Theatres attentively.

Apart from all these gifted actors and actresses, there were many outstanding talents in other spheres of theatre as well. A galaxy of technical artistes like Dharmadas Sur the notable painter, architect and set-designer, Nagendranath Banerjee a gem of an impressario and several other low-profile artistes and poor technicians who never got the limelight, worked tirelessly for the betterment of Bengali Theatre. Many affluent businessmen and enthusiastic persons like Bhuban Mohan Niyogi were always prepared to spend lavishly for enriching theatre.

In those preliminary years of Bengali Theatre, the educated Bengali psyche was tormented by intellectual, socio-political and religious differences. Scientific thought and English education had struck roots and nationalist impulses were getting a boost. The Calcutta Theatre in those formative days, reflected the Bengali spirits and the essence of the Bengal Renaissance.

Unfortunately, theatre could not consolidate its position despite such a flamboyant start. The theatre had no rich content like the Jafna or English plays. The Calcuttans, mostly creeping in from the outskirts of Bengal, were too much inclined to Jatras and unrefined imitations of the English Theatre. Girish Ghosh and his contemporaries successfully blended these two components into a popular form of entertainment which was rich in artistic flavour.

By the end of the century, the savvy theatre goers were fed-up with crude imitations, simplistic themes bordering on religion, hamming and an overdose of songs. At this crucial juncture, a youth came like a refreshing change and established the Classic Theatre in 1897, which turned into a paradise of undiluted entertainment in no time. He was Amarendra Dutta (1876-1916). Despite being an innovator in production techniques, he was also conscious of the serious aspect of theatre. 'Hariraj' (1897), his Indianized version of 'Hamlet' was a run-away success.

Two great playwrights appeared in the first decade of this century – Dwijendralal Ray (1863-1913), the creative genius, will be remembered for his Rajput and Mughal protagonists, legendary princes, gallant warriors etc. which were compatible with the growing nationalism of the day. The Bengal-partition in 1905 gave it an incentive. In spite of the literary elegance and poetic-prose of Dwijendralal's compositions, his creations were essentially modern. Few of his plays were staged during his life-time. His plays are very popular and highly acclaimed even to this day.

Another eminent playwright, Kshiroda Prasad Vidya Vinode (1864-1927) who composed all-time-great plays like 'Alamgir' or 'Raghubir', had to wait till the 1920s for due recognition and appreciation of his works. His language had the precision of style and was much less rhetorical than Dwijendralal's works. His works were neither tediously lengthy like Girish Ghosh. He deliberately avoided buffoonery which, at his time bordered on vulgar lines.

In those formative days, plays were lengthy whole night stuff. Initially Saturdays and then Sundays were also counted as theatre days. Later, the plays were mitigated and shows were arranged on Thursdays. An additional show was fixed on Sundays. The commercial theatres of Calcutta still follow the same pattern more or less.

Owing its origin to 'Jatra' and the English Theatre, Bengali theatre had always been very actor-oriented. The quintessential actors like Garrick, Irving, Ellen Terry tremendously encouraged Girish Ghosh and his contemporaries. The 'Jatra' style of acting was melodramatic and loud.There was a perennial problem of paucity of stage space and bad acoustics. 'Star-acting' became the chief trait of Bengali Theatre.
The other indispensable aspects of acting like costumes, sets, make-up were in a deplorable state in those days. Manmohan Goswami, a playwright, once said that the costumes were so horrific that it was difficult to identify or discriminate between a Bengali or a Bihari, a Rajput or a Sikh, a Jat or a Maratha or a South Indian. The sets were bluntly imitated from London models, imbibed through pictures, English play houses or simple hearsay. Dhananjoy Mukherjee pointed out in his 'Bangiya Natyashala' some grotesque misapplications. According to him, castles were seen instead of fortresses, villa instead of gardens, drawing rooms in lieu of royal courts and so on.

However, creation of some magical effects like actors disappearing through trap doors, toy trains trundling across the stage or combats of warriors in chariots, were very much in vogue. These gimmicks attracted the crowd but even the blockbuster hits hardly ran beyond thirty shows.

Bengali Theatre suffered a terrific blow when Girish Ghosh passed away in 1912. Then there was a void for a decade or more. Exceptions like 'Balidan' or 'Siraj-ud-daula' still drew packed houses but the general picture was bleak and dismal. Still, a few prodigious actors and actresses like Dani Ghosh (1868-1932), Aparesh Mukherjee (1875-1934), Tinkari Dasi (1870-1917) and Tara Sundari (1878-1948) tried heart and soul to keep the glorious torch of Bengali theatre burning, but in vain. Srikumar Banerjee has given a vivid account of the dark picture in his memoirs of the actor Shishir Bhaduri: "Acting and stagecraft had adapted the romantic sentimentalism and unreal fantasies of the 19th century." One saw the gaudy dresses of Kings and Princes, the revelling in patriotism and cheap idealism, the unrelieved roar of heroic passion, the excess of grief with its tears and ululations in cracked voices, the unchecked and indecent bonds of laughter.

Hard-core critics like Hemendra Kumar Roy, the editor of the theatre journal 'Nachghar' was severe on these issues. The educated elites underrated them – even the most enthusiastic theatre-goers were disenchanted. At this crucial juncture when Bengali Theatre was about to be obliterated, a stalwart emerged like a phoenix from the fire. He rescued Bengali Theatre with a solo effort and took it to sky-kissing heights. This quintessential actor was Sri Sishir Kumar Bhaduri.

Sishir Kr. Bhaduri & his Contemporaries :
Sishir Kr. Bhaduri (1889-1959)

Sishir Kr. Bhaduri descended from an affluent and educated family. Some of the renowned scholars and intellectuals of Bengal were his close associates. An M.A. in English, Sishir Bhaduri taught at the Vidyasagar College for seven years. But acting was his first love. Finally, he quit the job and joined the Cornwallis Theatre – a small unit owned by a Parsi. Such a decision was unprecedented for a Bengali gentleman but it was a boon in disguise for the sinking Bengali Theatra. He made his debut on the auspicious date of 10th December, 1921, in Vidyavinode's 'Alamgir'.

That was the beginning of the most illustrious theatrical career. The play was a mega success. For the sake of a more spacious and suitable playhouse, Sishir Bhaduri took the Manmohan Theatre on lease. After thorough revamping, he rechristened it 'Natyamandir'. This was inaugurated on 6th August, 1924, with Jogesh Chowdhury's 'Sita'. It repeated the story of Bhaduri's grand triumph and clearly insinuated at a bright future of Bengali Theatre.

With theatre gaining immense popularity and the tumultuous throngs in the packed houses, the Star Theatre (not the Minerva) made necessary changes like revamping its management, enhancing the comfort of the audience and selecting plays with sharp acumen. The novity was ushered in with the production of 'Karnarjuna' (1923) by Aparesh Mukherjee. Then, 'Art Theatre', the new proprietors, patronized many fresh talents like Ahindra Chowdhury (1895-1974), Naresh Mitra (1888-1968), Durgadas Banerjee (1893-1943) and Sushila Sundari.

However, Sishir Kumar went on playing the protagonist. He had won an unprecedented appreciation and acclaim of all people irrespective of class, creed or community. Despite the craze generated by him, Bhaduri had to abandon the 'Natyamandir' for financial stringencies. He took the Cornwallis Theatre on lease in 1926 and in four years he took it to sky-kissing heights. The superhit play 'Sita' was followed by equally successful plays like Kshirodaprasad's 'Nara Narayan' and Jogesh Chowdhury's 'Digbijoyee'. He also staged the famous plays of D.L.Roy and other old time favourites. Significantly, Sishir Bhaduri was not at all successful in staging the plays of Rabindranath. 'Tapati', for instance, was a miserable flop at the box-office.

Sishir Bhaduri took his troupe to the U.S.A. on the invitation of a Broadway impressario. Despite brilliant performances by Sishir Bhaduri, the trip ended disastrously. On his return to homeland, Sishir Kumar worked intermittently at different theatres. At last, he took out a lease on the 'Natyaniketan' in 1941. He rechristened it 'Shrirangam' and produced umpteen multi-dimensional old and new plays. Unfortunately, 'Shrirangam' gradually declined. Sishir Bhaduri was ousted in 1956. A disillusioned Sishir Bhaduri spent his last three years in abject poverty before breathing his last.

Sishir Kumar was undoubtedly a quintessential actor. He possessed an incredible intellect with directorial finesse. He was literally the first modern Bengali director.

Girish Ghosh had laid the foundations of Bengali Theatre. Amarendra Dutta consolidated it and Sishir Kr. Bhaduri enriched and endowed it with prestige and charisma.

Again, theatre started to deteriorate steadily from the mid-thirties. In those days, a new social awareness was growing and nationalist sentiments were flared up. The theatre turned a blind eye to contemporary happenings and lacked merit and prudence. Some competent playwrights like Manmath Roy (1899-1988), Sachin Sengupta (1891-1961), Bidhayak Bhattacharya (1907-86) put on their earnest endeavour to resist the irretrievable decline with their dramatization of popular novels. Some outstanding actors and actresses like Nirmalendu Lahiri (1891-1950), Bhumen Roy, Sarajubala Devi, Shanti Gupta and Chhabi Biswas (1900-62) gave excellent performances. Above all, the towering presence of Sishir Bhaduri and seasoned actors like Durgadas Banerjee, Ahindra Chowdhury, Prabha Debi etc. tried to bring radiance in a moribund frame of Bengali Theatre.

The Quit India Movement in 1942 and the Japanese invasions along with frenzied military preparations in entire Bengal – mostly in Calcutta, threw the state into a tizzy. The situation was worsened by the infamous Bengal famine (1943-44) which claimed 3 million valuable lives. The Bengali intelligentsia seemed to be paralysed and awestruck at these cataclysms. This disastrous effect was manifested in the plays of early 1940s which were very unreal and out of the world productions. By 1944-45, the playhouses totally collapsed on account of shabby performances and financial stringencies.

Bengali commercial theatre, at this time, was a shadow of its past and gingerly moving towards extinction. Sishir Bhaduri tried to resuscitate it for the second time. But this time, even his charisma failed to create the magical effect. Bengali Theatre lost all vigour and desperately needed somebody to promote and vitalize it. Unexpectedly, at this crucial juncture, help came from outside the arena of professional theatre.