Sunil -da had instantly consented to my request to stage a play based on his novel “Nihsanga Samrat”. Now the play is being staged but Sunil Gangopadhyay is no more; sadness engulfs me the moment I think about this. I am not a conventional dramatist and that is why most of the times visuals came first, dialogues followed thereafter. And this was always a constant dynamic process which evolved and shaped itself from rehearsal to rehearsal. For factual data I owe my indebtedness to Shankar Bhattacharya’s book on Sisir Kumar Bhaduri. I also took recourse to the letters of Sisir Kumar Bhaduri and few extant critical works on him by various scholars in shaping Nihsanga Samrat. The depth of passion, the wrecks wrought on him, the zig-zag pattern of his life and chalked and the straight forwardness he had, all of this had a deep influence on me and controlled my creativity at a sub-conscious level. My conscious effort was to keep my composition simple against the complexities of his life. For a while now, music somehow has tip-toed into my thoughts and integrated my visualizations. Even in this case, music has seeped into the composition. However, to what extent has the music harmonized with the visuals or whether both of them together have created a totally new picture or not, is something you will have to judge. Lights in their various hues, angles and intensities have illuminated two stratums to create different dimensions, and sometimes merged it into a single entity. However, all these are useless, unless they touch some chord in your heart and tug at your senses. Dialogues, acting, sets, lights, costumes, music, make-up-combined together-should present a single, integrated picture, that has been my effort. And in this effort of mine, Paikpara Indraranga has supported me in all possible way, for which I am grateful. If you like this Play then all those associated with the production deserve your applauds; if it is the other way round then, however the fault lies only with me.
Take care, be close to Bengali Theatre.