The gang of Gabbar Singh gets startled after coming to rob Ramgarh. The village people have shown so much endearment that their guns stopped working. It felt like the gang became dumb by listening to the song of only two people. By getting this report, Sardar got very angry. Instantly, he shot two fellowmen. Kalia could escape death because he did not learn singing. He has never done any work without Sardar’s permission.

It was Holi. Gabbar went to kill Thakur Sahab but he was unable to do so. Thakur wanted to make Gabbar one of his own. Gabbar wanted to cut Thakur’s hands, but Thakur gave his hands voluntarily. After this, disasters started to betide Gabbar. Having forgot to rob, he starts writing poems and plunges into studies and songs. Because, here, Thakur Sahab is none other than Rabindranath Tagore as ‘Tagore’ is ‘Thakur’ in our vernacular.

On the other hand, a female dacoit, Pushpa who revolts to have Sardar’s chair, gets thrown out from the gang.

But is it easy to be a dacoit? It needs more courage to love people than to kill or rob them – Gabbar realized one day. Then he understood the true meaning of ‘robbery’. And Pushpa, eventually, also admits, in a dramatic justice, that love prevails. And that is the power of Thakur’s hands.

Days are over to make Rabindranath Tagore into a deity. If he still is not in our flesh and blood, the Bengalis are in trouble. That is the reason that has prompted us to identify him as one of our characters in the drama. We have tried to fathom the depth of his ‘robbery’ and assess the length of Thakur Sahab’s hands.

It is a unique world where throughout the year even the little children can put up with Tagore without any reservation. By adopting this course, even the well-known dramatic personae turns into the most innocent child. Ego, which is in fact the nemesis of the man, is irrelevant to us. From this point of view, the future genre of theatre is conceived.

It often flashes through the mind that nothing has been coloured unjustifiably. As a director, I have been searching frantically for a subject where the very word ‘ego’ is most suitably battled with all hearts and souls; because ‘ego’ is the very first step of one’s downfall. Unless the veil of ego or hypocrisy is removed, there can be no real politics nor any stage set for true survival. Is there a light crevice seen in the stone wall? A narrow beam of light is coming through. Himmat aka ‘a courageous vertebrae’ is the true verbatim. It is courage to love.

This ‘courage’ is still very young, very tender and very delicate to handle. Bless it with your care. Chashme Baddur.

CAST
DEBSANKAR HALDAR,
ETASH SAHA,
SHARANYA SENGUPTA,
AMARSHI CHAKRABORTY,
AANGIK BHATTACHARYA,
ARUSHA GHOSH,
NAIRITA CHAKRABORTY,
SYAMANTAK SEN,
MANANYA KARMAKAR,
OJASWI THAKUR,
ABHINITHI DUTTA,
RITVEEK MAITI,
DIPENDU MANDAL,
PUSKAR CHAKRABARTY,
AISHANI GHOSH DASTIDAR &
RAJA BHATTACHARYA

ILLUSTRATION: ANUP RAY

MUSIC: AJAY BHATTACHARYA, NILANJAN ROY CHOWDHURY, NANDAKISHORE DAS

MUSIC ASSISTANCE: AISHANI GHOSH DASTIDAR, SUMAN HALDAR, SWAPAN BHATTACHARYA

LIGHT: BABLU SARKAR

MAKEUP: SURAJIT PAL

STAGECRAFT: AMBARISH DAS

COSTUME : SUDEHSNA CHAKRABARTY

PROPS : SHARANYA SNGUPTA

STAGE MANAGER : DIPENDU MANDAL

PRODUCTION MANAGER: PUSKAR CHAKRABORTY

PRODUCTION: BLANK VERSE

Drama, Design & Direction
Raja Bhattacharya