By — Dilip Guha

Following the tremendous success of Delhi-based cultural group Ichchhe Bitan’s earlier productions, Nakshi Kanthar Math and Priyobondhu, which had received immense love and appreciation from audiences, the group delighted theatre-goers once again by presenting their second production—Mahua Sundari. This timeless folk ballad was brought to life on stage on 1 August 2026 at B.C. Pal Auditorium, New Delhi.

The play transported audiences back thousands of years, weaving together myth, memory, and cultural heritage.

Among the treasures of Bengali folk literature, the Mymensingh Geetika holds great significance. Collected from the villages of Eastern Bengal and later compiled by the eminent scholar Dinesh Chandra Sen, these ballads continue to captivate readers and audiences alike.

Mahua Sundari—a tale of passionate love, sacrifice, separation, courage, and the eternal human quest for freedom—has lived in the hearts of Bengalis for generations. On this evening, Ichchhe Bitan proudly staged a fresh theatrical adaptation of this immortal folk epic, blending music, drama, and cultural symbolism.

The production not only revived a legendary ballad but also underscored its enduring relevance in contemporary society, reminding audiences that themes of love, resilience, and freedom remain timeless across generations. Some stories survive not through books alone, but through songs, performances and collective memory.

The play “Mahua Sundari Pala”, directed by Nabanita Chatterjee, brings one of the great folk narratives of undivided Bengal to the contemporary stage. Adapted from the celebrated Mymensingh Gitika, the production explores love, power, social identity, separation, loss and destiny through Bengal’s traditional pala storytelling form.

The Story: Love, Power and Tragedy

At its centre is Mahua, a young woman whose life is shaped by forces beyond her control. Her journey takes audiences into a world of travelling communities, river routes, village life and social hierarchies rooted in Bengal’s folk imagination.

Mahua’s life becomes intertwined with Humra Baidya, a powerful and proud figure. As relationships develop, love comes into conflict with social conventions, power, pride and circumstance. The river and boat become symbols of movement, uncertainty and changing human destiny.

As Mahua and Nader Chand’s relationship deepens, the story moves towards tragedy. Humra’s transformation—from an authoritative man to someone overwhelmed by grief—gives the narrative its emotional force. Mahua Sundari ultimately becomes a folk tragedy about love, power, loss and irreversible choices.

In terms of performances, Geetika Das, as Mahua, provides the emotional centre of the production, balancing vulnerability with inner strength.

Siddhartha Bhadury’s Humra Baidya is one of the production’s strongest performances. His transition from pride and authority to devastating grief gives the character considerable dramatic weight.

Noder Chand’s Mother, Sharmistha  Bhattacharya, makes a strong impression despite comparatively limited stage time. Their performances demonstrate an important quality of folk theatre: a character does not need extensive dialogue or screen time to become memorable.

Siddharth Chatterjee, as Noder Chand, effectively portrays the privileged but simple son of a zamindar.

The supporting ensemble includes Shatakshi Chowdhury as child Mahua; Nabangshu Deb in dual roles; Ushnish Chattopadhyay as the mischievous sanyasi; Promita Das as Palak; and Vedic Saha as Sujan Baidya.

Also contributing are Srija Chanda, Indranil Chakraborty, Samiran Chakraborty, Mrityunjoy Guha, Debapriya Dutta, Mukul Mitra, Raja Das, Mousumi Acharya and Abir Chaudhuri. Suchismita Chowdhury Sinha, Debashree Patra, Jayeeta Saha, Ranjana Bhowmik, Sanjana Manna and Tanisha Sharma enrich the production through dance and acting.

Music: The Soul of the Pala

Music forms the emotional backbone of Mahua Sundari Pala. Music director Debabrata Bhattacharya shaped the musical identity of the production through training, composition and arrangement. Sudeep on dotara and Abhijit on flute strengthen its folk character.

The musical presentation is further enriched by Anindita Mukherjee, Shyamal Majhi, Chandan Panda, Srabani Ghosh Deb, Sonali Roy, Prativa Das, and Pankaj Sen Gupta.

Together, the voices and instruments create the soundscape of rural Bengal. In a production based on Mymensingh Gitika, music is not merely accompaniment—it is an essential part of the storytelling.

Set, Costume and Make-up

Shuddha Banerjee’s set design, particularly the symbolic boat, establishes the geographical and cultural environment with simplicity. Sarmistha Bhattacharya’s costumes add vibrant colour, while Ratna Basu’s make-up strengthens the authenticity of the characters.

Direction and Cultural Authenticity

For Nabanita Chatterjee, authenticity is central to the production. “When we decided to work on Mohua Sundari from Mymensingh Gitika, the commitment was simple—to bring rural Bengal’s folk literature alive for today’s audience. This is not just a play; it is our responsibility to our roots.”

Boats, bird cages, river journeys and rural surroundings recreate the disappearing world of the Baidya community. The boat becomes a recurring symbol of travel, livelihood, uncertainty and movement.

Sincerity and New Performers

One of the production’s strengths is the opportunity it gives emerging performers. Chatterjee’s philosophy appears to value commitment over reputation: “Dedication matters more than fame,” She said. There are occasional imperfections, but the ensemble performs with unmistakable sincerity. The audience’s continued engagement suggests that the production succeeds in creating an emotional connection.

Dialect and Cultural Identity

The Mymensingh dialect is an important part of the production’s identity. Since the story comes from the folk tradition of Mymensingh, language becomes an essential element of cultural authenticity. Chatterjee acknowledges that consistency in the dialect can be developed further. Future performances may therefore allow the cast to deepen their understanding and refine their delivery.

A Tribute to Mymensingh and Undivided Bengal

The significance of Mahua Sundari Pala extends beyond the stage. Mymensingh Gitika represents an important folk-literary heritage associated with Mymensingh and undivided Bengal.

For Chatterjee, staging Mahua Sundari is an act of respect towards that legacy: She said, “Mahua Sundari is Our Tribute to Bengal’s Living Folk Heritage. To stage Mohua Sundari is to bow before that tradition.”

By bringing Mahua Sundari to contemporary audiences, Ichchhe Bitan seeks to reconnect younger generations with a tradition carried through folk songs, oral narratives, dialects, travelling performers, rivers, boats and stories passed from one generation to another.

Ultimately, Mahua Sundari Pala is more than a theatrical production. It is an attempt to keep a living folk tradition alive—bringing an old story, its music, language and cultural memory back before a new generation.