Radha-Ram Krishna Explores Parallel Journeys in Historical Fictional Drama

Radha-Ram Krishna

Radha‑Ramakrishna, a historical fictional drama, traces two parallel journeys: Sri Ramakrishna’s sadhana of Madhura Bhav at Dakshineswar, where he imagined himself as Radha, experiencing a woman’s body and psyche, and actress Binodini Dasi’s struggle to transcend the stigma of her birth through her art. Inspired by Girish Chandra Ghosh’s account of Ramakrishna’s practices, Binodini’s acting evolves into a higher sadhana, blurring the boundary between performance and spiritual realisation. Against the backdrop of colonial Calcutta, caste prejudice, and the British Criminal Tribes Act banning feminised male bodies, Ramakrishna appears at Rani Rashmoni’s Jan bazar Durga Puja in Radha’s attire, dancing with the kinnara community, as an embodiment of Ardhanarihwara. Later, in Star Theatre, he blesses Binodini after Chaitanya‑Leela with the immortal words: “May your Chaitanya awaken.” Society cannot be reformed by laws, caste, or prejudice, but only through the transformative fire of art and devotion.

Director

Dr. Santanu Das is an alumnus of the National School of Drama, New Delhi, and currently works at Rabindra Bharati University, Kolkata as Associate Professor in the Department of Drama. He has directed many noteworthy plays including Atha Dar Pal Katha, Power of Darkness, Ebom Indrajit, Romeo Jeannette, A Raisin in the Sun, Oedipus Tyrranus, Ghare Baire, Gollachut, and Raktakto Jharokha. He jointly directed Crossing with Aude Marehsal in Mondeville, France, and his production Macbeth Mirror has been staged internationally. He received a Silver Medal for Direction at the 4th International Experimental Theatre Festival in Hanoi, Vietnam.

Writer

Rakesh Ghosh is a Bengali playwright, director, and actor who writes and directs for the theatre group ‘Shabdomugdho.’ His notable works include Upal Bhaadury … Tale of a Dead Star, and he collaborates with Star Jalsa as a story developer and screenwriter.

Director’s Note

Reflecting on the production, the director notes the dialogue from the play: “I have not seen God, I do not believe in God, Bini, but I love life. And if life itself can be entwined, bound tight with sadhana, then life itself can become art, and such a person, a life‑artist…” Sri Ramakrishna Paramahamsa noted that there are as many opinions as ways (Jato Matha Tato Patha). In this production, Sri Ramakrishna Paramahamsa is enacted by a female and Binodini by a male actor.

Group

Kalyani Kalamandalam (KK), established on June 9, 1995, explores new directions in Indian theatre. Its major productions include Manu(sh)shi, Oedipus Tyrannus, Ghare Baire, Mayeder Mahabharat, and Stree. The group has performed in countries such as France, Poland, Czech Republic, Israel, Vietnam, Nepal, and Bangladesh, and organizes theatre festivals, children's theatre festivals, and workshops.