The play Teenmohona hosted by Chakdaha Nattyajan was set on the path to break pre-set religious notions on a rather passive note. The play has been divided into two time periods, depicting three historically (as well as religiously) relevant individuals whose identities have been for a long time never been focused in a realistic sense . Written by Ujjwal Chattopadhyay and under the direction of Kamal Chattopadhay , the play was set onto promoting Women Empowerment. The three relevant female characters were- Mirabai, Radha and Chandrabali , whose relevance has always been overshadowed by the religious being “KRISHNA”.


The play opens with a classical theme dance, with brilliant choreography by Somnath Dutta and music by Subhradeep Guha & Neel Kaushik.


We are introduced to Mirabai praying to an idol of Krishna , who seems to be “agitated” due to certain unknown reasons. We are shown Mirabai as a character who has given up her soul to praising Krishna. One would say,her love is truly of pure origin. The scene continues with the entrance of Kansa (The claimed arch enemy and Uncle of Krishna) who apparently had tied up Krishna and had attempted to drown him in the water body TeenMohona.


Kansa makes a deal with Mira that she would have to give him something in exchange that Kansa would spare the life of Krishna. The writer shows a realistic character of Krishna compared to mythological Super being The transition from one scene to other I carried out flawlessly as Kansa exits. One would realise that it is more of a religious satire which potrays Second Wave Feministic views and ideals through these characters. Here Kansa is less of a villain and more of a “catalyst” who uses his despicable means to make these women potray there inner feelings when their loved one’s life is in question.


As we move on to Radha , a character whose existence has always been thought of taboo given the age difference between her and Krishna. Here ,shown as a wife of the head of the village who cares more for his “family’s” reputation , and therefore even ready to build a separate room where his wife and Krishna can carry on their affair without making a public show of there togetherness. His “reputation” is what that is in question here. The playwright hits the right chords while depicting each character in the prehistoric time period . Now coming the kind of love Radha had was more of a material-istic one, if not only physical neediness.


Contrasting to the next character, Chandrabali whose love one would call Platonic, not bound by the physical material-istic existence that Radha craved for. The director uses color, dance – ART to portray each scene , well versed -well directed-well written Hitting one’s basic need of aesthetic indulgence on a whole. Kansa makes the same kind of offer to Chandrabali and Radha and asks them to meet him at the Bank of Teenmohona in order to save Krishna. On meeting Kansa; Kansa demands them to physically give them selves up to him to fulfil his sadistic pleasures.This scene is followed by a potrayal of great dramatic monologues by each of the women , who end up protecting each other from this Venomous entity. On this note the scene ends , with Kansa promising that he would come back in the Modern century to fulfil his hearts desire. In the second half the play looses its plot and except the good performances of artists there’s hardly anything to talk about. The dialogues weren’t catchy and silly usage of terms made it hilarious. The play depends too much on the performance of artists and songs and dance, whereas the script fails to inspire. The play deals with serious topics in a less serious way, but the ending wasn’t that much clear. We can say it’s a performer’s play, rather than a writer’s play.

– Ayush Biswas, Karan Debroy

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