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THE INDIAN STAGE
VOL. iv.
SIRISH NATYA SANSAD SERIES.
BY
HEMENDRANATH DAS GUPTA
First Girish Lecturer, Calcutta University,
Author of Bankim Chandra,
Deshbandhu C. R. Das,
Girish Prativa, Girish Chandra etc.
Dedicated
to
My Wife
Sreemati KIRAN BALA DEVI
Whose Devotion and Co-operation have
always been a great help to my literary pursuits.
Author.
Published by
M, K. Das Gupta, B.A.
124/5B, Eussa Road, Kalighat,
Calcutta.
Printed by
Mr. S, R. Sen
TRUTH PRESS
3, Nandan Road
Calcutta.
FOREWORD.
The history of the Indian Stage is now complete
for the present. Ten years ago, the great orientalist
Dr. Joban Van Manen who honoured the writer with
a masterly introduction to the first Volume, gave in it
a synopsis of the contents of the succeeding ones,
and I thank my stars that I have been able to bring
out a connected history from the pre-historic period
down to the present day. How far I have been suc-
cessful in my endeavour, it is for my readers to judge.
I can not however bid ferewell to my readers
without expressing my deep gratitude to the famous
business-magnate Mr. Sachchidanda Bhatfcacharya
whom I have the proud and unique privilege of claim-
ing a former student of mine, now a famous perso-
nality, equally distinguished for the great qualities of
both head and heart, without whose kind help, the
History nay more, no other literary work of mine
would have seen the light of the day.
I shall also express my thanks to the various per-
sons who have rendered me help in various matters
for the present work, notably amongst them to my
late lamented friends Babus Kshetro Mohon Mitra,
Chunilal Deb, Abinash Chandra Gangulee, Natya-
charya Amrita Lai Bose, Aparesh Chandra Mukherjee,
Jogesh Chandra Chowdhury and to the living drama-
tists Babus Manmatha Nath Roy M. A., B. L. and
Mbhendra Nath Gupta M. A., as also to my esteemed
friends Asoka Nath Bhattacharya Vedantatirtha
M. A. Rabindra Nath Roy, Satoo Sen, Kiron Chandra
Dutt, Akshoy Kali Koer and Nikhilendra Krishna Deb.
I must acknowledge with gratitude that I have
been greatly assisted and treated with great consi-
deration in my consistent research work by the
Librarian and the whole staff of the Imperial Library.
My thanks also are due to my friends Messrs B. N.
Das (late M. H. B. Burmah), P. C. Thomas of St Paul
School, J. C. Guha (Professor), Upendra Chandra Das
Gupta (Advocate), Kali Das Roy (Poet), Raghunath
Dutt of Bholanath Dham, and last and not the least
to Mr. Makhanlal Sen, the translator of Bamayana
in English and author of Lord Srikrishna, for his
literary help. The suggestion and encouragement I
received from Srijut Devendranath Bose has already
been acknowledged.
Lastly I am very grateful to Mr. Sudhansu Ranjan
Sen Gupta Advocate and Proprietor Truth Press who
has not only taken personal interest in my work but
also for the interest he and the whole staff of the Press
have taken in expediting my work and bringing it out
successfully.
I am particularly thankful to my friends Mr. A.B.
Chatterjee M. A. and Mr. S. N. Sen, B. Com. for the
keen interest they took in my work.
The task of bringing out works like the History of
the Indian Stage, Bankim Chandra, Girish Chandra,
Deshbandhu Chittaranjan is quite Herculean and I
think it should receive due recognition from the Uni-
versity and it should see that the writer may be in
a position to continue arduous researches unhamper-
ed ; though I should admit that it has encouraged
me by honouring me as the first Girish Lecturer of the
Calcutta University and prescribing "The Indian Stage
as a text book for B.A. classes (Sanskritic) for which I
heartily acknowledge my grateful thanks to that
august body.
124/6B, Bussa Road,
Calcutta. HEMENDRANATH DAS GUPTA
The 26th Sept. 1944.
CONTENTS OF VOL. IV.
CHAPTERS : PAGES
I. Minerva Theatre. 19001904
Recapitulation of matters of all
volumes and story of reconstruction by
Chuni Babu. ... 1-27
II. Minerva Theatre. 19051912
Girish's position and his dramas .., 28-88
III. Minerva Theatre. 1912-1944
Mr. Upendra Mitra's regime and after. 89-111
IV. Classic Theatre. 19001906
Girish Babu & Amarendra ... 112-124
V. Kohinoor Theatre. 19071912
Girish and Sarat Roy 125-131
VI. Monmohon Theatre. 19151930
Dani Babu and Pandey 132-444
VII. The Bengal Pavillion. 19011918
Aurora, Unique, National, Great
National,, Thespian Temple 145-152
VIII. Star Theatre. 18991944
including Art Theatre, Nava Natya
Mandir and Mr. Upendra Mitra's
Theatre 153-209
IV. English Theatres of Calcutta.
including Bandmann, Liang, Wilkie,
"Howard and Besa 210-224
X. Hindi Theatres.
The Corinthian and Alfred Theatres.-- 225-233
XI. South Indian Stage,
Malabar, Tamil, Telegu, Kerala Stage- 234-246
XIL Sanskrit Dramas.
Nritya Gopal, Gispati Kabyatirtha
Jarjara festivals by Asoka Sastri, &c.-. 246-251
XIII. Eabindra Nath on the Stage
At Jorasanko, Santi Niketan and
Empire Theatre, . . 251-259
XIV. Famous Amateure Theatricals
Sangit Samaj, University Institute
East Bengal Club and Alipur
Dramatic Club. ... 260-271
XV. Reformed Theatre.
Mitter, C. A. P. Natyasree &c. 272-275
XVL The East Bengal Stage,
including other districts of Bengal
Dacca, Vikrarnpur, Mymensing,
Labpur, Kalia. ... 276-283
XVII. Natya Mandir and
Mr. Sisir Bhaduri including his
American tour. 284-300
XVIIL Other Theatres.
Natya Niketan, Sri Rangam, Rung
Mahal, Natya Bharati, Mitra Theatre,
Rup Mahal ...301-320
Addenda
XIX Conclusion 321
THE
INDIAN STAGE
Vol. IV
CHAPTER I.
MINERVA THEATRE
Girish Chandra, as we have seen in the
third volume, left the Minerva Theatre which
he had himself built, and after that it became
practically a dead house.
Before we proceed to discuss further details
of the Bengali Stage, we ought to recapitulate
the past history and what we propose to do
next. The first stage was an attempt on the
part of Girish Chandra to stage performances
for middle-class gentlemen, how the various
performances of "Sadhabar Ekadashi" led to the
starting of the National Theatre with Lilabati,
how it next became public and how the Great
National Theatre was started in 1873, how
actresses were first introduced and how ulti-
mately the Dramatic Performance Act was
passed in 1876. Vide Vol : II.
The second stage was the reviving of the
National Theatre in 1877, how Qirish had to
'give up service for the benifit of the stage and
how the Bouranik dramas beghinfe^ with
"Babonbadh" drew speftat-or^in numbers.
Vol : III.
The third was the opening of the Star
Theatre at Beadon Street with "Dakshajajna",
how it was sanctified by the visit of His Holi-
ness Paramhansa Ramkrishna Deb and Girish's
accepting him as his Guru (spiritual preceptor),
how the Star Theatre was removed to its present
site at* Cornwallis Street and the Emerald
Theatre was started in its site, how the new
Star opened with "Nashiram" and how Girish's
social dramas "Profulla" and "Haranidhi"
created a new atmosphere for the stage and how
it showed also the germ of national dramas in
"Chanda*. Vol : III.
The fourth stage is the later development
of the stage when the classical dramas of Girish
Chandra Macbeth, Jana, Mukul Munjara,
Karametibai, Kalapahar, Mayabashan, Pandava
Gourava etc. created a new era for the Bengali
Theatre. Vol : III (1883-1900).
The fifth and the most glorious stage will
be described in this volume when nationalism
in all aspects in patriotism and religion, in
culture and philanthrophy was the chief theme
of the Bengali stage and the high class dramas
"Sitarain", "Satnam", u Serajuddulla" and
"Mirkasim", "Rana Protap", "Mewar Patan",
"Nandakumar" and "Chhatrapati Sivaji"
dealing with historical matters, "Balidan'",
"Sasti Ki Santi", "Grihalakshi" depicting social
problems and "Raja Asoka", "Sankarachariya"
and ''TopobaP' inculcating philosophical truths
adorned the Bengali Stage as a University of
Art and Culture. It was at the Minerva
Theatre that most of the dramas under this
head were staged in the earliest period
of the twentieth century viz. 1900-1912 and
the period thus marks a glorious era of the
Bengali Stage with that Theatre. We thus
propose to follow the ups and downs of the
Minerva Theatre with details which are
necessary, although they may prove now and
again a bit tiring and complex.
By the time Girish left in 1896, half of the
Minerva Theatre had already been mortgaged to
one Promotha Nath Das on a conditional sale.
As the Theatre drew no more any enthusiastic
spectators and sales became low, Nageu Babu
allowed the City Theatre to stage its per-
formances here *. As it was not to the liking
of Promotha Das, the latter with the help of
Babu Chuni Lai Deb and his brother Nikhil
Babu cleared the "City" of Minerva. The City
left in May 1896 and the proceedings it institut-
ed in court to bring the Deb Brothers and
Girish Chandra to book, failed.
Chuni Babu was practically managing the
Minerva and it is he, as we shall see, who by
his tact and efforts reconstructed the Minerva.
He could not, however, make any head-way at
the time, although such brilliant artists
Ardhendu Mustafi, Mohendra Bose, Miss
Tincourie were with him. A few worthless
pieces as "Jubilee Jajna", "Srikrishner Balya
Lila" and "Jivanta Protima" were only staged.
Advertisment-Manager Durgadas Dey's 'Law
Babu' was a bit entertaining. Mr. Dey gained
some influence and secured two lessees P. C.
Bose and his brother J. K. Bose without the
consent of Chuni Babu. The latter left for the
Classic in disgust. In March 1898, Promotha
Das actually became half partner of Minerva.
Formerly it showed at Beena. Vide Page 166 Vol: III.
During the Puja (October) 1898, the party
went to Bagerhat (Dist : Khulna). Sales were
low there and the party had to sell scenes for
passage money for return. The purchasers were
Babus Beni Koy and Atul Koy who afterwards
played an important part in the later history
of Minerva.
In December 1898, Bose brothers surrendered
the lease, their losses being great, and two
Dutts Amritalal Butt alias Habu Dutt and
Surendra Dutt alias Tainu Dutt became lessee in
the benami of Haru Mullick. They being cousins
of Swami Vivekananda, Girish (who had left the
Classic owing to some difference) at the former's
request took much interest in them, lending
even his name tor a few nights as manager,
though without any monetary gain. Chuni Babu
came back from. Classic and became thede-facto
manager of the Minerva again.
In February 1899, Girish was requested by
the Maharaja Sir Monidra Chandra Nandi of
Ca&simbazar to take his party there and show
some performances under the name of Minerva
Theatre at the marriage ceremony of his eldest
daughter.
It was against principle of Girish to appear
as an actor in a private house, but since the
Maharaja was a highly cultured and a pious man
6
and was widely known for his boundless charity
and simplicity of manners, Girish accepted the
invitation. Chuni Babu helped him in gather-
ing the artists. "Sadhabar Ekadashi" "Ghaitanya
Lila" and '"Profulla" were staged, besides some
farces. Mustafi also accompanied the party
and his Madan-Dada and Jiban Chandra
delighted all #.
Girish was not, however, hopeful of the
present condition of Minerva and got scent of
truobles too. In the meantime, Amarendra
Nath gave him the offer of joining Classic as
.Dramatic Director, which he accepted.
Messrs. Beni Eoy and Atul Koy now came
to the field. Babu Narendra Nath Sarkar, the
minor Zemindar of Sripur was in their control
and was induced by them to take the lease of
the Minerva. But there was already a lease
in the benami of Haru Mullick, the Dutt
brothers being the defacto lessee. In their
absence Haru Mallick was taken by Durga Das
Dey to their house and made to surrender the
lease. The half partner Promotha Das helped in
the move and Durga Das became the manager.
* Some idea of the Maharaja's appreciation of
Girish's part of Jogesh may be gleaned from Girish's
essay "Bahurupy Bidya".
Babu Mohendra Mitra, Advocate High
Court was the legal advisor of Sarkar. Dutts
were now served with a notice to quit and
Chuni Babu too had to leave.
"Sree", "Madalasha" and "Kishore Sadhan"
were now shown with the help of the powerful
actress Susilabala of whom we shall speak
later,
Sarkar was merely the lessee but now came
an opportunity for him to become the owner of
the theatre.
atgtfiis ime a suit was pefiding for
arrears of rent of the land against Nagen
Mukherjee and Promotha Das, and in the decree
passed in favour of Mohendra Das, the owner
of the land, the theatre was sold on auction and
Sarkar was advised to purchase it : but since he
was a minor, it was done in the name of
Mohendra Mitter. To become the proprietor
of the Minerva, Sarkar had to mortgage his
considerable properties and Mohendra Babu too
paid him Es, 10,000/- by borrowing it from the
Khulna Loan Office through the help of Ueni
Ray. The trio Mohendra Babu, Beni and Atul
Babu, were the real masters of the situation
and Sarkar was a mere tool in their hands.
Durgadas De's services were next dispensed
8
with, and "Madhabi Kankan" (B. C. Butt's) was
staged on the 10th March 1900, Sushila playing
the part of Jelakha admirably.
Mohendra Babu was a highly cultured man
and had knowledge not only about drama and
art but also about business. He had high
regards for Girish Chandra and advised Sarkar
to secure his services at all cost.
Girish was at this time the Dramatic Director
of the Classic and his "Pandova Gourava" as we
saw before, was creating a sensation there.
There were, however, some differences about the,
amount and ptymenl* if Ins* salary. F?e now
joined the Minerva Theatre and came to his
own home on Bs. 250 a month with a bonus of
Bs. 1000.
The sensation of Minerva now was the
staging of "Sitaram," a dramatic version of
Bankim Chandra's famous novel,
"Sitaram" was an independent Hindu chief
of Bengal in Bhushna (Faridpur), during the
time of Aurangzeb, By his own effort he founded
a kingdom at Mahmudpur (Jessore) on the other
side of the Madhumati river, but lost it in his
struggle with the Mohamedans. Although not
an original drama, the episode of a hero of
Bengal for the first time kindled a feeling
( 9 )
of love for the country in the hearts of the
Bengalis and "Sitaram" may therefore be called
the first national drama of the period and the
fore-runner of ''Pratapaditya" and "Banga
Vikram" (Kedar Roy) ,the other national heroes
of Bengal. Bankim Chandra in the monthly issue
"Prachara" wrote the novel in series in 1884,
There for the first time even before the Indian
National Congress was started, he advocated
Hindu Mussulman unity in the mouth of
Chandsha Fakeer. This portion of the conversa-
tion between the Fakir and Sitaram is, how-
ever, absent in the novel (published in book-
form), but Girish all the same introduced this in
th drama and caught ethe imagination of the
audience.
Then again Girish introduced many new
things and inserted a few songs which highly
enhanced the interest of the play. For
example, the conversation between Eamchand
and Shamchand does not excite any
sympathy for Sitaram and the last chapter
of ttie novel rather ends quite abruptly.
The last scene in the drama, however, ends
with a long conversation between Sitaram and
Sree as one full of tension and was quite in
keeping with Bankings view-point that the last
independent Eaja of Bengal fell not owing to his
2
own fault but for circumstances which he was
powerless to control. The newly-added scenes
made the drama very enjoyable.
Now to play the part of Sree, requir-
ed an actress of great talent like Tincouri.
This was also arranged. Tincouri was then at
the '"Classic" and the management was able to
secure her services. The part of Joyanti the
Sanyasinee who takes away Sree. from the
kingdom of her husband, was played to a finish
by Sushilabala. Her make-up, dialogues and
songs were highly enchanting, specially as the
songs composed by Girish for the occasion were
of a superior order. Indeed Joyanti was practi-
cally the starting point of the most brilliant
career of Sushila. Tincourie and Sushila added
to the interest and diginity of the play and fully
supported Girish Chandra in the main role
which, to say the least, was superb in representa-
tion.
In fact Bankim's "Sitararn" could not better
be represented on the stage as was this time
done with Girish and other artists coached at
his direction. *
* It was the ardent desire of Bankim Chandra
that his novels be truly represented by Girish Chandra,
but circumstances intervened. Fourteen years after
Bankim first expressed his desire, Girish now carried
it into effect.
( 11 )
Dani Babu's part of Gongaram too was
highly successful. Chuui Babu and Nikhil
Babu were kept as understudy for Girish
Chandra and Dani Babu.
The other characters were as follows :
Chandra Ghoor Aghorh Pathak.
Mrinnioy Prea Nath Ghose.
Shaha Fakeer Kali Charan Banerjeo.
Gongadhar Swami Thakur Das Chatterjee.
Chand Shaha Kedar Nath Das.
Fousdar's brother-in-law Angus.
do flatterer Nilmani Ghose.
Peari Lall Kunja Chakravorty.
Ohandal Chuni Deb.
Nonda 801*0 j in i.
Rama Pontu Rani.
Murala Sudheera Bala (PataP
Maid servant : Hingan Bala (Hena)
Girish was here for a few months only and
within that time besides rendering the novel
into drama wrote a rnelo-dramatic piece
"Moni Haran" (the story being 9 taken from
Sreeinad Bhagabad) consisting in the mys-
terious disappearance of a famous gem-
Shyiamantak and the marriage of Satyabhama.
This was followed by k 'Nanda Dulal." He also
appeared as Jogesh, Neemchand, Vidushak,
and Keechak with Tincouri as Jeevananda,
( 12 )
Kanchan, Jana and Draupadi in the various
dramas of fame.
Amarendra Nath was very much enraged
and began to baffle Girish in two ways. First
he applied to the High Court praying for an
injunction to restrain Girish from serving
in Sarkar's Theatre, during the continuance of
Girish's agreement with him till March 26,
1902. Mr. Justice Sale, however, discharged
the rule and refused to give any relief to
Amarendra * remarking that the breach was
committed by the plaintiff by non-payment of
Bs. 3,000/- as the conditions of the agreement
had been broken by Dutt himself.
Amarendra Nath's next move was to show
performances of Sitaram in competition with
the Minerva, commencing on the 30th June,
1900, I There were placards and cartoons
(e,g. Nata, Nartaki, Napita actor, harlot and
* Messrs. Jackson and W. C. Banerjee appeared
for Dubt, and Sir Griffith Evans and Mr. Garth for
Girish Chandra.
t Cast
Sitaram Amarendra.
Sree ... Kusum Kuinari.
Nonda Promoda.
Roma Chhotarani.
Joyanti Bhusan Kumari.
( 13 )
barber become useless after 40 ; weighing scales,
the side with Girish going up and that with
Amarendra going down and the like) issued by
Classic eulogising Dutt and belittling Girish.
These were as mean and vulgar and were all
one-sided. Contrast these with tho sports-
manlike dignity of Star-proprietors during the
contest of Profulla performance in 1895 !
Nothing however could harm Girish. In
the performance, too, Amarendra had to give
way very soon. Except the part of Gongaram
which was acted most marvellously by
Mohendra Bose the last original part Mohen-
dra Babu appeared in, t others were as candles
to incandescent lamps. To the various attacks of
Dutt, the only dignified reply from the Minerva
was "It has been said that there is a difference
of Heaven and Hell ! Aye ! Let us hope so at
least."
Thus baffled both in stage and Court, Ama-
rendranath staged a scandalous farce "Theatre"
from the 25th August 1900, caricaturing Girish
and rediculing Narendra Sarkar, Beni Roy and
Mahendra Mitra as Bangals 1, since they
t Mohendra Babu died in March 1901.
J Bangal Used generally as an expression of
contempt in reference to people of East Bengal by
those who live in Upper Bengal,
( 14 )
hailed from Khulna and Barisal. This scurri-
lous piece too did not add to the dignity of the
stage at all.
As to the kind of acting that was practised
by Arnarendra Nath and others of the period
we should say a little. He had a good and
sonorous voice and his physique was very good.
He attained great popularity but with great dis-
play of voice, real art suffered greatly with
him. People both on the stage and outside, in
professional and amateur parties used now to
practise the same kind of technique, and
competition proceeded on this display of
voioe alone. At Girish Chandra's direction for
the first time however appeared a protest to
this kind of acting, thus :
"Our representation, we feel bold to say, will prove
to them that howling is not acting and that
such a subject atonce serious and sublime
ought not to be handled by quacks who will
unscrupulously lay their hands on the most
complicated cases without possessing the re-
quisite qualification of even a common-place
amateur/' *
Ideals of Theatre no doubt suffered greatly
at the hands of Amarendra but to Girish,
* Vide Amarendra's biography by Dutt, page 270.
( 15 )
Naren Sarkar too was no bettor stuff. He was
vain and wanted to become an actor and
dramatist. As he possessed no qualification
for either, Qirish had to disappoint him, and the
result was the separation. The last part
Girish played was in the role of Neemchand on
October 19, 1900.
No sooner Amarendra heard of this, than he
paid to Girish all possible respects and by offer-
ing many apologies took him to his theatre, the
announcement by him (Gth Agrahayan 1307)
running as follows
"I have no difference now with the great Girish
Chandra. He has taken me to his affec-
tionate embrace. It was an act of folly on my
part to have offended so august a person*"
From October 20, 1900 Girish's name as
Manager of the Minerva Theatre dropped off
but Tincourie and Chuni Babu remained there.
Mustafi too \vas in the Minerva, Differences
however arose between Atul Eoy and Mohendra
Mitra, and when the latter was threatened with
a suit for Loan Office debt standing in his name,
artists threatened a strike. Atul Roy's services
were now dispensed with and he joined the
Classic.But from this place too, he spared no
means to harrass Mitra and Sarkar and at last
( 16 )
finding no means of safety, Naren Sarkar
applied for insolvency in 1902.
Minerva Theatre was now without a lessee
and there was no play ; but to run on the
theatre, an order of the Court was necessary.
Babu Mohendra Mitter then got the mortgagee
in the person of Chinmoyi Devi wife of Late
Satyadhan Mukerjee (nephew to Mr. W. C.
Bonerjee) mortgagee of the house for Es. 30000/-
to file a suit for the appointment of a receiver.
Mr. Shelly Bonerjee (son of Mr. W. C. Bonerjee)
was appointed Eeceiver, and immediately he
issued notices on the 22nd July 1903 to the effect
that lease would be given to the highest bidder,
provided he deposited Es, 5,000/-. Offers came
from many and eventually Babu Veni Bhusan
Eoy and Preo Nath Das were made lessee who
agreed to pay Es. 620/- a month as rent.
Mohendra Babu helped them with a loan of
Es. 5,000/ giving the cheque immediately.
Now in 1903, Amarendra took Sub-lease of
the Minerva too offering a sum of Es. 10,000/-
as also a monthly rent of Es. TOO/-, under Veni
Eoy and Preo Nath Das. He now opened the
Minerva after it had remained closed for a year
and a half. He appeared in the title role in
Kshirodo Prasad's drama Rughubeer and his
part was very ably performed.
17
Although the play # was a great success and
his part created a great impression, it was
however not possible for Dutt to run both the
Classic and Minerva in that financial strain, he
was put to at that time. On this side again, the
Star Theatre was having packed-up houses with
Pratapaditya, and the Unique, too, established
a position with Dani Babu, Tara Sundari and
others. So from December, 1903, to March,
1904, he could not make much headway.
Now came Mr. Monmohan Pandey in the
field a man who became a prominent theatre-
owner afterwards. Amarendra used to borrow
now and again from him for the Classic. To
clear the money, Amarendra sold him the sales
of female seats for 8 days during X'mas.
Further troubles awaited Amarendra. For
the rent of the Classic theatre due to Messrs.
Belchamber & Co., the receivers to the estate of
Gopal Lai Seal, Pandey had to advance a sum
of Rs. 2,000/- also. For all debts Amarendra
transferred the lease of the Classic to Pandey.
* Cast Raghubeer Amarendra
Anant Rao Radhamadhab Kar
Dulia Preonafch Ghosh
Debal Handu Babu
Shamili Punturani
Paribanu Blackie
18
The deed, however, was not to be registered
within three months and an opportunity was
given to Dutt to repay the money within that
time, which, as will be seen he did.
In March. 1904
Amar Babu's Classic was invited to show
some performances at Dacca by the Nawab
Bahadoor (Nawab Salimulla) on the occasion
of the visit of Lord Cur/on, the then Viceory
of India. Amar Babu took his Minerva party
with him and showed performances in the name
of the Classic. On this occasion, too, he
had to borrow some money, Dacca on the other
hand did not pay him profusely. There was
some difference with the party and Chuni Babu,
and from the Ry. Station on his way to Calcutta
Amarendra sent a letter of dismissal to the
whole party, which was still then staying at
Dacca. The party had to return with money
secured by mortgaging some ornaments of the
actress Puntorani.
On return, Chuni Babu threatened Amar
Babu with a suit for declaration of the latter as
an insolvent. Messrs. Beni Roy, Preo Das,
* Some scenes from Hariraj were shown to the
Viceory. After that, during the Dol, a pavilion was
built at Armenitola.
19
Mohendra Babu and Mr. Paudey dissuaded him
from doing that. An arrangement was next
entered into between Ainar Babu and Chuni
Babu, that Chuni Babu was to manage the
Minerva as best as he could, but would give
the sale proceeds of the female seats only, to
Amar Babu.
March July, 1901,
Chuni Babu now began to manage the
Minerva for Amar Babu and in this he was
most materially assisted by Babu Kshetro
Mohan Mitra. Mohendra Babu gave a loan of
Bs. 200 to begin with. Beni Babu was with
them and Girish Chandra, too, lent his name
for two nights as Manager.
After a few performances Baza Rani*,
Nondo Vidayaya, Madhabi Kankan, I Chuni
Babu put up "Sansar' : a social drama by
Monomohan Goswami for rehearsal.
* Raja Montu Babu, Kumar Sen Kshetro
Mohan Mitra, Debdutt Handu Babu, Sumitra
Chhotrarani, Ila Kusum (Bishad).
t After finishing his part at Classic, Amarendra
Nath came to supervise Minerva. Finding that the
hero (Narendra) was late, he himself appeared as
Narendra and was highly praised by the author
Mr. Dutt who was present at the performance.
20
Minerva having lost its previous prestige
was now and again tortured by gundas, (ruffians)
also. But Chuni Babu was too strong for them
and Minerva under his able management began
to flourish again, though at very slow steps.
Rehearsals of "Sansar" continued. The story
of the "Sansar" relates how the wife of a young
graduate was compelled to book for Assam and
work as a female cooly in a tea-plantation
there. The cruelties of a young Saheb as
contrasted with the kindness of the senior pro-
prietor the Burra Saheb, the pathetic descrip-
tions of the hero, Prionath, his wife and sister,
the serio-comic acting of Nabokhura and Hani
master, with the villainy of Eamendra and Bama
and the faithful devotion of the old servent, all
together, as a basket of five flowers, made the
drama interesting. The cast was thus distri-
buted for the rehearsals :
Prionath ... Dani Babu,
Barasaheb ... Chuni Babu.
Chota Saheb ... Khetro Babu.
Naba Khura ... Kali Bonarjee.
Bama ... Bidal Hari.
Protiva ... Sorojini.
Saraju ... Kusum (Bisad).
Dani Babu however did not remain, as the
distribution of fchare-system would not suit him.
21
The author himself, Babu Monomohan Goswami
B. A., now appeared in the role and Satis
Banerjee as Nabo Khuro. From the first night
the play proved lucky.
Minerva was rising no doubt but Amarendra
was still the lessee. But further troubles
awaited him.
On April 30, 1904 Girish Chandra's
"Satnam" was put on boards at the Classic
Theatre. It is one of the most powerful
national dramas with tense emotions but on
the second night some of the Mohomedans
misunderstanding the spirit of the play created
a row and the sales were much affected.
Tension became high and Moulvi Muzibar
Rahaman (afterwards a Congress-leader) with
two others, saw Girish Chandra and represented
the feelings of their community. Both Girish
and Amarendra out of deference to their
feelings stopped further performance, although
they did not fail to convey that the drama
really favoured Hindu-Mussalman unity. The
stopping of "Satnam" at the Classic after three
nights, proved favourable to the Minerva and
people disappointed at the Classic began to
crowd in the neighbouring Theatre -Minerva.
Amarendranath thus got a severe set back
at the Classic. Added to this, Mr. Pandey
22
began to press for money due to him.
Arnarendra had still his right at Minerva, but
unable to bear the burden of troubles and debts,
he at last transferred his right and interest of
Minerva to Mr. Pandey on the 20th July, 1904,
Amarendranath's connection with Minerva
ceased from this date.
After this, Pandey allowed Chunilal Deb
who had so long acted on behalf of
Amarendra, to proceed on with the theatre on
his responsibility. The arrangement was that
Deb was simply to pay Es. TOO/- a month as
rent but in all 'other matters he was to be
independent of Pandey. . His name was now
announced as proprietor in papers. He was a
strict disciplinarian, and began to mature plans
to make Minerva Theatre worth its name.
Soon an opportunity was also offered to him.
He was very friendly with Babu Upendra
Nath Mukherjee, proprietor of the Basumati
House. Upendra Babu had published the
works of the illustrious poets Michael
Medhusudan Dutt, Dinabandhu Mitter, Girish
Chandra and others. He had large number of
books still lying undisposed of, in the go-down.
A novel device was hit upon by Chuni Babu to
make Minerva popular. He planned to
23
distribute the works to the holders of tickets.
The arrangement was that Upendra Babu
was to supply books but would receive half of
the sale proceeds of tickets. Advertisement-
cost was to be paid by him. This proved a
successful adventure. On the first night i.e.,
22nd August 1904, when Nadoo Vidyaya,
Lakshan Borjan were staged, the sale proceeds
amounted to Rs. l,800/~and similarly on the
following nights. Minerva now commanded
packed-up houses and used to collect Rs. 800/-
to 900/- per night in place of Rs 50/- or Rs.GO/-
as it used to get before.
The prestige of theatre no doubt deteriorated
with this outside help for its upkeep, but this
gave a great push to Minerva and if it could
rise hereafter, it was only due to the start
Chuni Babu gave.
The success of the Minerva through the
presentation of books made Amarendra Nath
impatient and he also followed the paths of
Chuni Babu at the Classic. He was certainly not
jealous, he was too liberal to be envious of any-
body, but he thought he must not lag behind in
competition. He arranged with the "Hitabadi"
publication and began to distribute even "Sabda
Kalpa Druma" the most valuable Lexicon
24
in Sanskrit literature. This involved severe
expenditure and Amarendra Nath was prac-
tically reduced to a state of bankruptcy. The
result proved disastrous for the "Classic", and
we shall speak of it later on.
Thus when Minerva prospered, up came
Pandey to take interest though we have seen
he had no other concern except that he was
entitled to the rent of Ks. TOO/- a month from
his sub-lessee Chuni Babu. Babu Mohendra
Mitra who had been taking a keen interest in the
threatre from before the time of Naren Srakar
was a friend and relative of Chuni Babu too.
He advised Chunilal to keep the money with a
banker or financier who would advance in cases
of emergency and suggested the name of Mono-
mohon Pandey and henceforth Chuni Babu used
to keep all money with Pandey, and used to
consult Mitter and Pandey in all matters. Now
when Minerva was making its mark, each of
them suggested a percentage for the other, 3 p.c.
for Pandey and 2 for Mitter. To this Chuni
Babu could not agree and it created trouble
for him.
In the mean time, Chuni Babu secured good
artists including even Mustafi, Tara Sundari and
25
others and put on board "Aindrila" # a drama
from the author of "Bezia", on the 6th Novem-
ber, 1904. The story taken from poet Hem
Chandra's "Vritra Sanhar" relates how Vritra
(Asura) was routed by the gods. There was no
dearth of money now, and the company got new
scenes, dresses &c, necessary for the perfor-
mance. The public, however, did not appreciate
the play and the sale-proceeds ranged between
Bs. 250/- and Bs. 350/- only.
They next staged "Nildurpan" with
Ardhendu Sekhar as Torap and Wood,
Khetro Babu as Mr. Bogue, Nabin Madhob
Chuni Babu, Tara Sundari Sabitri, Khetro-
moni Bishad Kusum. The play was really
a success.
Another book in which the casts deserved
high praise was that of Bankings "Kapal
Kundala" where the artists acquitted themselves
creditably, specially the two Chuni Babu as
Cast Chuni Babu ... Vritra.
Nikhil ,, ... Rudrapir.
Khettro ... Kartic (he played Eudrapeer
on the 1st night).
Tara Sundari ... Aindrila.
Hinganbala ... Sachi.
Montu Babu ... Indra.
Hand a Babu ... Joyanta.
Aparesh Babu ... Surya.
4
26
Kapalik and Tarasundari as Moti Bibi. Chuni
Babu's appearance, ge stures and voice represen-
ted the Kapalik correctly and he could be
classed with Motisur in his famous role
About this time Chuni Babu, feeling very
much the want of good dramas and to restore
Minerva to its former position, arranged to
bring Girish Chandra on 350/- a month. It
was at this time that rehearsal fo^ the
performance of Pratapaditya was proceeding
with the following cast
Protap Chuni Babu
Sankaf Aparesh
Bhabananda Handu Babu
Roddaand Bikramaditya-- Mustafi Saheb
Gobinda Roy Ehetro Mohan Mitra
Basanta Roy - Palit.
Kalyani Tara Sundari
Bijoya Kironbala
Chhota Hani Sarojini
Sundar Montu Babu.
Govinda Das Mohini Mohan
It was staged on the 20th December 1904,
and Chui Babu did his part creditably. During
X'mas Chuni Babus "Naseeb" was played,
but Mr. Ardhendu MustafTs "Bhgaban Bhoot"
proved a still-born play.
27
The success of Chuni Babu and his un-
willingness to pay 5% more on gross sales
brought him into collision with Panday, who
had, however, the artists on his side, probably
because he was in charge of finance. The
immediate cause of rupture was the scanty
supply of betels at Maldah, where company
went on a call. There was no written paper in
Chuni Babu's favour, and he had to be satisfied
with Rs. 1,000/- only on settlement. Thus
his connection ceased with Minerva, for which
he had worked so hard. He planted the tree
and did his utmost for its growth, but when it
began to bear the fruit of his labour, he was not
allowed to enjoy it. It is said, some artists had
grudge aginst him in his selection of parts and
payment was not satisfactory. Whatever might
be the cause, the Minerva Theatre owes a deep
debt of obligation to Chuni Babu for its
reconstruction.
Fortune now installed Mr. Pandey on the
vacant seat of the real builder.
CHAPTER II
MINERVA & GIRISH
After Chuni Babu's departure, Babu Aparesh
Chandra Mukerjee was made the Manager.
Mr. Mustafi was the master from before,
Girish Chandra the dramatic director.
But one thing for the stage needs constant
repetition. However efficient the staff may be,
a theatre can not go on without proper supply
of dramas and the newly organised Minerva too
would have shared the same fate, had it not
been continually fed by dramas from Girish's
pen. In the few years 1905 to 1911, Girish
Chandra produced ten of his best dramas
social, historical and religious, which again
raised Minerva to a position of greater fame
and prosperity.
The first piece that Girish wrote for the
Minerva now was a short mythological opera
called ''Kara Gouri", versification whereof
was very simple and sweet. It showed how
Mahadev first gave lessons about agriculture
and how the divine consort put on Sankha as a
<29
mark of wife-hood. The plot was taken from
Rameswars Sivayana.
The part of Siva was acted by Tarok Palit
on the opening night, 4th March, 1905 and
Gouri by Tarasundari. Palit, however, failed to
represent the part properly. Girish then himself
appeared in the role. The atmosphere of
Theatre was still restless and Girish had to
restore it to its proper position. He then
appeared as Harish in "Haranidhi" with Tara
Sundari as Kadambini.
After this, Girish contributed a great
master-piece to the Bengali Stage from Minerva
in the drama of ''Balidan" t It depicts
in vivid colours the harrowing evils that result
from the present dowry-system in marriage
that prevails among the Bengali Hindus,
specially the middle class gentlemen who are
its worstvictirns. Under this compulsory dowry
system, the miseries of a father who has more
than one marriagable daughter, knew no,bounds.
Biit the climax of the tragedy is that even on
payment of a ruinous price, a desirable bride -
groom is seldom to be found. It is the rich
that capture the best boys by offering fancy
prices for them and tho parents of the boys sell
their sons to the highest bidder.
30
Girish exposes this highly scandalous
practice of the practical sale of the boys in
matrimonial market that has produced the
gravest evil in Hindu society in comparison with
which all other evils will appear to be quite
insignificant. It reduces the girl's parents to
destitution and poverty, the girl curses herself
for her birth, and there are instances in which
to save their parents from distress and social
obloquy for having un-married, grown-up
daughters, they have committed suicide.* With
a firm grasp of facts Girish has given the most
graphic picture of this monstrous practice that
is eating into the vitals of the Bengali Hindus.
"Balidan" is great both as social drama and
as a pure tragedy. It is one of the greatest
tragedies in -the world's literature. It is
masterly in its construction, in its evolution of
events, in the delineation of characters and in
all that contributes to the highest perfection of
dramatic art. From beginning to end, the drama
is tense with tragic emotion and of burning
social interest.
"Balidan" is literally animal sacrifice before
a Hindu deity. The drama of its name has
demonstrated how an honest house-holder of
* Snehalata's suicide in 1913 is an instance in point.
31
moderate means is sacrificed to the Moloch of
the dowry system in marriage. But the word
also means self-sacrifice which has been ex-
amplified in the annihilation of selfish interests
by Dulal and desires by Jobi.
Girish himself used to appear in the role of
Karunamaya, the unfortunate father of marria-
geable daughers. His rendering of the part was
so masterly that even the most gifted actors
dared not appear in that role after him. It
was simply superb. There was no ranting, no
theatrical pose, no affectation anywhere, but
simply by the changes of expressions and by the
modulations of voice, Girish imparted the most
vivid impressions of different complex emtions
such as of indignation, grief, despair, despon-
dency, surprise, disgust and frenzy as well as
love, affection, and joy. Mr.D. L.Roy, the famous
Bengali Wit as also a peet and dramatist, ex-
claimed in deep admiration "I have seen Sir
Henry Irving play a hero of this kind, but
Girish is infinitely superior to him." Such was
also the opinion of all who had seen both Irving
and Girish.
Tara Sundari as Korunamoy's wife
Saresswati did her part admirably. So was
Ardhendu Sekhar's Eupchand masterly. But
Girish's son, Dani Babu cast even the best
32
eomic actar into shade in the representation of
Dulal, Eupchenn's spoilt-child. Dulal's part
is the most difficult, few can comprehend the
real spirit but Dani Babu was extraordinarily
superb in this role. Both Ramanath and Mohit
two villains were highly successful Mohit's
exclamation "Damn it" came to be a
favourite expression with the young.
His last scene of repentence was very touching.
Sudhira Bala's Matangini and Jivon Pal's
Kali Ghatak were good, but Sushila's Jobi was
astonishingly charming and her songs extra-
ordinarily soul-stirring.
The parts were distributed as follows :
Karunamoy Bose ... G Irish Chandra
Nalini the son Dhirendra Nath
(apprentice)
Saraswati (his wife) Tara Sundari.
Kiron moye (first daughter)... Kiron Bala.
Hiron moye (second daughter) Charu Bala,
Jatirmoye (third daughter) Monorama.
Ghanashyarn Ghose
(a wealthy citizen) ... Montu Babu,
(Monindra Mondal).
Rajluxmi (his wife) ... Nagendra Bala
Kishore, his son, (Eoychand
and Premchand Scholar
founder of the Bandhab
Samiti) ... Aparesh Chandra
Bhabini (his daughter)
Ramlal (his son-in-law)
Rupchand Mitter (a man
of wealth but of
crooked nature)
Dulal Chand (his son an
idiot, hunch-backed
and spoilt child, most
eager to marry
Karunamoye's daughters)
Jasomati (Rupchand's wife)---
Kali Ghatak (match-maker)
Ramanath (a villain but a
distant cousin of
Matangini)
Jobi (his wife but whom
he did not recognise)
Matangini (widowed
mother of Mohit)
Mohit (who failed thrice
in F. A. examination
and afterwards
became the first son-in-law
of Karunamoye)
Mukunda (aged about
fifty, who married
Hironmoye after he
became widower
Miriganka (the son)
5
Panna Sundary.
NutbeharL
Ardhendu Mustafi.
Dani Babu.
Sorojini.
Jibonkristo Paul.
Monmatha Nath
Paul (Handu Babu).
Sushila Bala.
Sudhira Bala
(Fatal).
Khetro Mohen
Mitra.
Atooi Ganguly.
Brojendra.
34
Maidservant ... Chapala Sundari.
Ukil ... Jnan Kali Babu.
Inspector Nagendra Ghosh.
The performance continued each Saturday
and on the 5th night of the performance,
Hon'ble Sir Chandra Madhab Ghose, Kt, the
then Offg : Chief Justice of the Calcutta High
Court, Justice Sir Gurudas Banerjee Kt.,
Mr. Justice Saroda Charan Mitra, Hon'ble
Bhupendra Nath Bose, Rai Jatindra Nath
Choudhury, Kumar Manmatha Nath Mitter and
many other leading members of the Bengali
community came to witness the performance.
From start to finish they were all admiration
for Girish, both for the drama as also for his
masterly representation of the hero's part,*
Mr. Justice Saroda Charan Mitfcer, who had
once asked Girish to write a drama about the
ruinous Dowry system in marriage of which
* Thus says Mr. N. N. Ghose, Principal
Metropolitan College
" The play is an intensely realistic
tragedy.,, Babu Girish Chandra Ghose, the talented
author of the play, played the part of Karunamoy to
perfection. Most of the actors and actresses are
upto the mark. c...."
Indian Nation^ Aug. //,
35
the middle class Hindus are the worst victims,
thought that this powerful tragedy would
succeed in abolishing the scandalous practice
of extorting money and other things from the
bride's parents.
Babu Amrita Lall Bose, the famous
dramatist and Manager of the Star Theatre
expressed his unreserved admiration for the
drama. He said that since the performance
of the "Nildurpan" he had not witnessed
such a powerful and moving tragedy like
"Balidan". It inspired Mr : D. L. Roy, the
famous dramatist of Bengal to write social
dramas, which resulted later in the production
of "Paraparey" a ad "Banga Nari".
After some nights, Girish Chandra fell ill
and the part was given to Ardhendu Sekhar
Mustafi, A great and veteran actor as
he was, he at first refused to appear as
Karunamoy because he felt diffident to
represent the character as had been done
by Girish, with such consummate histrionic
skill ; yet it must be admitted that though
Ardhendu Sekhar was not so masterly in
the part like Girish, still he was the next best,
After him, on different occasions and on the
boards of different theatres, eminent actors like
Amrita Lall Bose, Dani Babu, Amarendra
36
Nath Dutt, Chuni Lall Deb often appeared
in the role but none could approach Girish
in the inimitable representation of the
part. Some of the persent-day actors in-
cluding even Mr. Sisir Kumar Bhadury
also tried the part, but without much
success. If the modern actors could represent
the true tragic vein of Karunamoy's character
in its proper light, "Balidan" would have been
repeated on the stage even to the present day,
to the great good and enjoyment of the
audience.
No doubt Balidan was written with a special
purpose, but that does not take away anything
from its intrinsic worth as a drama. The mis-
leading shibboleth 'Art for art's sake', has long
been exploded by Ibsen, Bernerd Shaw and
others. Indeed no work of art can be absolutely
purposeless. The purpose underlying a great
work of art may lose its importance or interest
in the course of time, but not the work of art.
We do not any more believe in the legend of
Prometheus or of Faust but neither the
"Prometheus Unbound" of Shelly nor the Faust
of Goethe or Marlow has lost a bit of its drama-
tic interest. Time may come when Bengal ma^
solve the burning problem of a daughter's
marriage, but Balidan as a work of art and a
37
high-class tragedy will not least suffer for it. No
longer we believe in King Lear's legendary
division of the kingdom between his daughters,
but 'Lear' remains as of supreme work of art ;
likewise Balidan will always find a place among
the highest tragedies of the world,
We are, however, glad to observe that very
recently a number of performances of the above
tragedy "Balidan" was arranged by Girish
Parishod on the Board of Minerva Theatre
during the Girish centenary through the
courtesy of Mr. N. (1 Gupta, a patron of
stage and a gentleman of great culture
and it has been the unanimous verdict of the
audience, having each occasion packed the
theatre to its utmost capacity, that even though
the occasion of "Balidan" no longer exists, nor
was it acted by persons like Girish Chandra
and his colleagues, then in the meridian of their
glory, representation of the difficult characters
Korunamoy, Saraswati, Dulal, Mohit, Kiron,
Jobi, Kisore, Jhee, Ghonsyam etc. exhibiting
complex and difficult emotions were made by
artists of merit who felt most and acted as if
they were in actual life. Indeed it is the
excellence in histrionic talents that is necessary
for the representation of the great dramas of
Girish, which, however, is sadly lacking in the
38
most of the present-day actors. We congratulate
the Girish Parishod * and its organisers Messrs.
Kiron Chandra Dubt, Kshitish Chakravorty,
Asoke Sastri, and Kshetra Mitra (director) on
having secured such a distinguished corps
of amateurs with whom joined a few artists
of repute of the different stages and we further
wish that they would continue in their en-
* In the last performance on 6th March 1944, (the
former being on 13th December, 1943 and llth Feb-
ruary, 1944) the following artists appeared in different
roles :
Korunamoy Bengal's VonSchlegel, Ghonosyam
Mr. Bankim Bhattacharjee M.A. B.L., Mohit Ksetro
Mohan Mitter, Kisore Bai Saheb Monomohan
Ghosh, Bamanath Bhutnath Mukherjee, Bainlal
Batin Banerjee, Ukil Mr. Birendra Ghosh B, L.,
Bailiff Mr. Dhirendra Mukherjee B L., Saraswati
Susila Sundari of Naharin fame, Jobi Ascharjamoyee
(famous songstress), Kiron Sefalika (Putul), Jhee
Kanibala, a modern actress of great merit, Matangini
Giribala, Hiron Sarala (Benki).
A. B. Patrika 6-j-$<f.
N. B, Augustus William Von Schlegel (born
Sept. 5, 1767 d. May 12, 1845) was the distinguished
German critic on drama and stage. His "Lectures on
Dramatic Art and Literature" is an authoritative book
referred to often times by the present author. His
eulogy of Shakespeare and dispargement of Moliere
has been clear in his essays.
39
deavours to resuscitate the soul-stirring aud
masterly dramas of Girish Chandra Ghose.
Now to come to Minerva, Balidan drove
away the last trace of the cheap period of
presents (upahar) and earned once more a great
reputation for the Minerva Theatre. It was
the beginning of the succession of the great
and powerful dramas that began to pour now
on the Minerva Stage and raised it to a pinnacle
of success.
Girish Chandra next commenced another
drama Rana Pratap and completed about two
Acts. But when the news reached him that
the Star theatrical company put a drama of
the same name under active rehearsals, he
stopped there and began to compose a drama
about the political history of Bengal during
middle of the eighteenth century.
On the 22nd of July, 1905, the Star
Theatre began to show the performance of Rana
Protap the hero of Rajasthan a drama by
Mr.*D. L. Roy. The heroic achievements and
the great self-sacrifice of this immortal Rajput
patriot at once appealed to the sentiments of
the educated people even before the rise of
the Swadeshi Movement in Bengal. The
sensation was so great that on the first night
40
400 people returned disappointed, for want of
accommodation, But what offended Mr. Roy
was that the well-known poem of Girish
Chandra known as "Haldighater Judha" was
incorporated in its performance four attend-
ants reciting, the poem and giving a description
of the battle. Mr. Eoy considered this to be an
insult and sought the help of the Minerva
through Babu Mohendra Kumar Mitra. Some
printed copies were given and the Minerva got
ready for the performance for 5 days and the
play began to be shown on the boards of
Minerva from 2nd night (29th July) after it
had opened at Star. The following cast in
Minerva and Star will enable our readers to
judge the nature of the tough competition :
Characters
Minerva
Bana Protap Dani Babu
Saktasing Aparesh Mukherjee
Prithwiraj Ardhendu Mustafi
Mansingh Monindra Mondal
Akbar Narendra Banerjee
Selim Khetro Mitter
Purohit Handu Babu
Joshi Bai Tara Sundari
Meher Susilabala
Doulat Tarasundari
Ira Bhusan Kumari (jr)
Laksmi Sudhirabala (Patal)
Star
Amritalall Mitter
Amrita Bose
Kashinath Chatterjee
Akshoy Kali Koer
Hiralall Dutt
Sarat Miira
Sarajubala
Nari Sundari
Basanta Kumari
Angurbala
41
On the first night Tara Sundari played in
both the roles of Joshi and Doulat though at
the last moment the latter part was assigned
to her on account of the illness of the actress
chosen for it. Yet she acted the part most-
successfully.
For three nights of Bana Protap's perfor-
mance Girish Chandra himself recited his poem
"Haldighater Judha" before the curtain was
raised. For some nights the audience was
large but the performance could not, in the long
run, stand competition with that of the Star
where the audience remained pouring as usual,
but in Minerva the sales dwindled to about
Bs. 400/-. Dani Babu could not compete with
his guru Amritalal while the combination at
Star was a splendid one. The only part that
was superior to that of the Star was Sushila's
Meherunnissa at the Minerva, and Mr. D.L. Boy
was simply charmed by her performance.
About this time, Mr. Shelly Bonerjee the
receiver decided to have the theatre-house sold
on auction. Messrs. Pandey and Mitra hesi-
tated to offer so large a sum, as sales were not
still satisfactory. But Girish predicted that
his new dramas would bring immense money
and insisted on the purchase. Pandey offered
6
42
Bs. 60,000/- and acquired the right of owner-
ship. Girish's prediction proved to be true, as
"Serajuddula" alone fetched about a lac of
rupees within a year.
"Serajuddoula", as the next piece was called,
deals with the life and the history of last
independent Nawab of Bengal. It deals with
the tragic fate of the unfortunate prince, his
constant efforts to bring home to the mind of
his counsellors the imminent perils to which
his throne was exposed, his noble and patriotic
exhortations to his wily and intriguing officers,
his deep affection for tho people of Bengal,
which moved oven tho most hard-hearted
spectators to tears. The representation of the
drama was so masterly that every one was
grieved to see that a prince so high-minded and
noble arid endowed with all the princely
qualities could not succeed in saving his throne
and his life from vile conspiracy hatched by
his treacherous, selfish and unscrupulous
courtiers. It is a high-class drama and tho
"Bengali" * rightly observes "It requires no
mean talent to interpret tho diverse and com-
plex characters that the gifted author mar-
shalled in it. It is nonpareil"
It was first staged on Sept. 7, 1905, just
* "Bengalee", 3rd Feb. 1906.
43
before the official order partitioning Bengal was
passed on Oct. 16, 1905, and a month after the
Swadeshi Movement had been inaugurated on
Aug, 8, the same year,
The cast was as follows :
Seraj Dani Babtt, Mohonlal Palit, Mirmaclan
Montu Babu, Karim Chacha Girish Chandra,
Dansha Fakir Mustafi, Mirzai'ar Nilmadhob Chakra-
borfcy, Jagatsefch Nagendra Nath Ghose, Showkat-
jang and Mushala Handu Babu, Col : Clive Khetro
Mohan Mitter, Holwel Atal Do, Omichand Haridas
Dutta, Kayballav Jnan Kali Babu, Jahara Tara
Sundari, Begum- Susilabala, Aliberdi Begam
Hemanta Kumari, Ghaseti Begum Sudhirabala
(Fatal), Mrs. Watts Sudhirabala (Fatal), Unmat
jahara Subashini (Malina), Amiua Begum Bhuson.
Dani Babu was the central figure in the play
and appeared as if Sarajuddoula personified.
Sushila spoke and sang like a Begum, Tara
Sundari represented Jahara like a tragic quoen
more powerful than Shakespeare's queen
Margaret ( Richard III ). Indeed this part
raised her position more than her famous
Resia, Sudhirabala's Mrs. Watts was very
life-like, specially in the burial scene of
the Nawab, Girish Chandra's Karim and
Ardhendu Sekhar's Dansha were the chief
attractions of the stage and Girish by his serio-
comic acting as the Karim drew forth tears
44
from eyes of the whole audience, and the words
quite different from Karunamay's were uttered
as if they actually happened. For such
highly difficult part of Karim Chacha too, Girish
had no equal. Nilmadhob Babu and Montu
Babu were true to life. Palit as Mohonlal
represented the hero of Bengal properly and in
the last scene when he rebuked "Mirjafar" for
his treachery, he used to touch the hearts of
all. Then again when Kshetro Babu as Olive
used to address him
" Mohan Lall, you are a hero. I have no
power to let you off chains, but I must cordially
express (Mukta Kan the) you are a brave soldier.
You have truly said, death will not affect your
honour. Really y6u are a patriot/' the effect was
equally great. Statesman remarked thus * about
the performance.
"The company at this theatre has been
playing Seraj-ud-Dowlah, by G. C. Ghose, for
the past five months with unabated success.
The author himself takes the part of Karim
Chacha, Olive is represented by Mr, K. Mitter,
and the remaining characters are well-placed"
The last words of ' Karim Chacha were so
candid, pathetic and moving that when Mirzafar
accosted him and said "Come, you will be put
* 17th February 1906 Statesman.
45
to death (Shule Dibo) for your treachery
(BeimaniX'.
Karim thus said in reply "Beimani ? I am
but a crane amongst the swans. Were there
any punishment for treachery, the heads of the
courtiers would have moved against each other \"
Karim Chacha's leave-taking with a bow "Saheb,
Bara Jabar lok Tumi, Bangla ki, Samasta
Bharatbarsha Tomader" How wonderful you
are what to speak of Bengal, the whole of
India belongs to you" and Olive's thanks both
reminded us of a prophesy and victor's glee .
It appeared as if every thing was real.
Mr. Mustafi's expression as Drake "Fearing
lost" reminds us of the Governor of Bengal.
In short the acting was the best that was ever
represented on the Bengali Stage.
As to the characters of the drama, Jahara
and Karim are two w r onderful creations.
Jahara personifies the malignant spirit of
revenge, no doubt, but after revenge was
satisfied, she is turned into a saintly woman
because she was not actuated by any considera-
tion of self. That distinguished her from
Eai-durlov and others and such a complex
character as of Jahar's is beyond comprehen-
sion, Karim Chacha again is the acute inter-
preter of contemporary men and events.
46
"Sirajaddoula" went on drawing each
night crowds to its fullest capacity till
"Mirkasim", another powerful drama of Girish
Chandra was put on the boards of the Minerva
on the 16th June 1906. This drama was
also quite suitable for the time and was
appreciated by the public. The events that led
to the accession of Mirkasim to the throne of
Bengal constitute an eventful period in the
history of Bengal and Girish spared no pains to
give a graphically vivid picture of them.
"Jagaron' 3 by Babu Haranath Bose staged
on 17th Dec. 1905 was not a success.
So did Girish's "Basar" not produce
much interest although Dani Babu was superb
as Jagannath # and the cast included so noted
artists as Ardhondu Sokhar, Susila and Palit.
"Durgesh Nandini" again was a great success
with a very powerful cast (Feb. 15, 1906)
Birendra Singh ... Girish Chandra.
Vidya Diggaj ... Ardhendu Sekhar Mustaffi.
Osinan ... Dani Babu.
Ayesha ... Tara Sundari.
Bemola ... Tincourie.
Jagatsingh ... Mr. Palit.
* Jagannath was quite a different conception from
Dalai. Girish's remark "he is an actor who plays the
fool best" applied to Dani Babu conspicuously.
47
The combination of Dani Babu as Osmfln
and Tara Sundari as Ayesha, not to speak of
others, was a treat and one is reminded of a
well known writer's observations which apply
fittingly to them
"This famous pair, brother and sister will
probably always be remembered as of a "great
style" of acting that had both in declamation
and gesture the merit of a fine technique".
Till the last day, their appearnce in the
above two roles was a sight to soo, so masterly
was their movements and postures.
In June 1900, LokomanyaTilak accompanied
by Mr. Khaparado paid a visit to the Theatre and
both were charmed with the representation of
Serajuddoula. Grish was then on the stage
in the role of Karim Chacha. He paid high
encomiums to them, not forgetting to mention
about the Bargi plunders which weakened
Bengal very much, giving only a handle to the
western traders.
"Mirkasim" was staged on the 16th Juno
1906 and the cast was as follows :
Mirkashim Dani Babu, Mirz.ifar Girish Chandra,
Vansitart Atal Kar, Batson, Ells, Major Monro
Khetro Mitra, Shah Alain and Anriat Thnko Babu,
All Ibrahim Palit, Taki Khan Nagendra Ghose,
Sujauddoulla and Lai Singh Montu Babu, Samsher
48
aftd Doctor Fuller Handu Babu, Tara Tincowri,
Mani Begum Sudhira Bala, Begum Susilabala,
Hastings Prokasa Moni, Shamaroo Hari Bhusaji
Bhatt, Haibat and Arab All Jivan Krishna Paul,
Mahmmad Amid Upendra Basak, Holwell, Hay and
Major Adams Ardhendu Babu, Khoja Pidru Hari
Das Dutta, Gurgan Khagendra Sarkar, John
Karnach Safcyendra Dey, Nanda Kumar Satcowri
Gangulee, Khoza Bajid and Zafar Nirmal Gh.
Gangulee.
Mirkasim was very well rendered by Dani Babu.
His expressions and delivery both were masterly,
Praksh Moni too as Hastings deserves much
mention.
Miss Tincowri's impressive appearance gave
her once more a great advantage on the stage
and she very successfully represented the
character of Tara* Girish as Mirzafar vividly
represented the treacherous Nabab and the last
scene of repentance with marks of leprosy on
his person was specially touching. He did not
forget to sign the 'Treaty' before council
members from the right side to the left as
Persian Charactes are written. Babu Nil
Madhob Chakravorty was his under-study.
About the success of the performance w r e
quote here the observations of the "Bengalee"
of Sir Surendra Nath.
49
"Babu Girish Chandra Ghose's new historical
drama, 'Mirkasem', which was put on the
boards of the Minerva Theatre for the first time
on Saturday last, has been a phenomenal
success, both from the histrionic and literary
points of view. The tumultuous period that
followed the accession of Mir Kasem to the
throne, the strenuous fight that the ruler had
with the East India Company for the protection
of the indigenous industries and the various
stratagems resorted to by both sides to win
their points, have, with remarkable fidelity and
consummate art, been portrayed by Bengal's
greatest play-wright. The piece abounds with
diverse and complex characters, all of them
very skilfully marshalled to produce an
excellent stage-effect, which one must see to
fully realise it etc."
Bengalee 2jrd June % 1906.
Both the above dramas not only fetched
fabulous sums of money, but contributed
considerably to the growth of the national move-
ment of Bengal. They changed the mentality of
the people who for the first time saw before our
eyes "What history of Bengal is and how uptil
now we had simply committed to memory
incorrect things that have been put to our
mouths as to parrots.'"'
7
50
Mirkasem was followed by Atul Krishna
Mitter's "Shiree Farhad" on the 8th Sept. and
D, L. Boy's "Durgadas"* on the 8th Dec. 1906.
Durgadas also matched the other national
pieces well and Minerva's reputation continued
on. The drama related to the thrilling and
sensational Rajput war of the 17th century in
which Durgadas and Kaj Singh fought valiantly
against Emperor Aurangzeb.
Excessive labour at the Minerva and old
age seriously told upon Girish's health and
on the approach of the winter he contracted
asthmatic fits. Some time in November the
proprietors came to see him at his house but
regretted that they would not be able to stage
* Durgadas Dani Babu, Sainardas Thako Babu,
Dilirkhan Mr. Palit, Aurangzeb Preonath Ghose,
Tahebar Kha Hand a Babu, Sundar Das Mantu
Babu, Sham Singh Hari Das Datta, Shambhuji
Nripendra Bose, Akbar Khetro Babu, Rajsingha
Nihnadhab Chakraberty, Bajsing'ssons Bhim Singh
Nagen Ghose, Joyshingh Satyen De, Kasim Angus,
Gulanah 1 Sudhira Bala, Mahamaya - Prokash Moni,
Kazia Susila Bala, Kamala Heinanta Kumari,
Saraswati Nagendra Bala.
N,B, The same drama was also staged on the same
day in the "National" which was being managed by
Babu Chuni Lai Deb.
51
any new skit during the X'mas. He consoled
them and wrote a new operatta Jaisa Ke Taisa
borrowing the theme from Moliere's L' Amour
Medicin or Rightly Served. Ardhendu Babu
was in the role of Haradhan (Karta) but from
the second -night, Dani Babu appeared in the
role of Karta. He was appreciated more than
Mr. Mustafi in this part, and the piece became
very enjoyable from that time.
It opened on the New year's day of 1907 and
was a highly amusing entertainment. Next it
was added to Durgadas, which had a run for
months. The highly gifted actress Susilabala
in her little but pleasant role of Garab displayed
histrionic talents of a very high order. In a
hearty laugh she used to exhibit all the five
vowels (a, e, i, o & u) in so artistic a way that
the dramatist himself was greatly amazed to see
so great an improvement upon himself.
Girish's illness continued long and for
several months we do not find the great figure
any 'more on the stage. After a continued
absence from illness, Girish appeared on the
9th of June 1907 in his inimitable role of
Jogesh in "Profulla".
In his absence the opera "Lulia" had a run
for 15 nights.
Girish then began to compose a drama by
the name of "Mohomed Shah" in whose reign
Nadir Shah invaded India. But finding some
similarity with Serajuddula in some places, he
stopped it. He then began to compose a drama
''Chhatrapati Sivaji", The Sivaji festivals
throughout India at the time, presence of Tilak
in Calcutta and the stirring period seern to be
the origin of the drama. It was finished by May
and was then put under active rehearsals. It
was staged at Minerva on the 17th August 1907
but Girish was not then here during perfor-
mance. A new set of artists had already come
in the person of Amarendra Nath Dutt and Sm.
Kusum Kumari and Girish Chandra left the
Minerva for the Kohinoor Theatre and was
there for about a year. The history of his
activities for one year will be narrated in
connection of the Kohinoor Theatre, but let us
in the meantime see what took place at the
Minerva,
Amarendra Nath was appointed at first as
the assistant Manager but on Girish's depar-
ture was made the Manager, Girish had selec-
ted the parts for Chhatrapati and coached them
as long as he was at the Minerva.
"Chhatrapati" was very successful at the
Minerva and Amarendra Nath with his hand-
53
some and tall stature and the suitable make-up
made an excellent representation of Sivaji.
Other parts, too, were well done. The part of
Putla Bai a novel creation of a devoted wife
was masterly represented by Sushila and the
cast was as follows :
Kamdas Swami Nagendra Ghosc, Aurangzeb
Tarok Das Palifc, Tanaji Preonath Ghose, Afzal
N. Banerjee, Shaeata Khan Akshoy Kumar Chakro-
borty, Gongaji Nripendra Bose, Lakshmibai
Sudhirabala, Jeejabai Prokasmoni, Saibai Kusum
Kuinari, Dilir Khan Ahindra De, Pufclabai Sushila-
bala, Sambhuji (young) Sasiinukhi.
At Kohinoor Theatre also Girish Chandra
had "Chhatrapati" staged from the 15th Septem-
ber ( C 28th Bhadra) with the following cast :
Sivaji Uani Babu, Aurongazeb Girish Chandra
(himself), Baindas Swami Montu Babu, Tanaji ~
Karbic Babu, Dadajo Konda Nilmadhab Babu,
Dilir Khan and Morapant Khetro Babu, Shambhuji
Ferojabala (Neni), Gongaji Handu Babu, Lakshmi
bai Tarasundari, Jeejabai Tincowrie, Saibai Kiron-
shashi, Putlabai Kironbala.
Girish's "Chhatrapati" in both the theatres
Minerva and Kohinoor was a great sensation
and it will not be out of place to give a com-
parative idea of the performances held simul-
taneously at both the theatre. Kohinoor's
Aurongzeb was without a parallel, but Palit too
51
was not unsatisfactory. Jejee Bai and Laksmi-
bai represented by Tincowri and Tarasundari
were far superior to Prokasmoni and Sudhira-
bala whose representations, too, were not bad.
Kohinoor's Gongaji was marvellous, but Nripen
Bose at Minerva, though always a comic actor,
was also true to life in his part. Bamdas
Swami of Minerva was tolerable, but Montu
Babu suited the part much more.
Dani Babu infused real spirit to his part
and acted very well, but Minerva's Sivaji suited
the part more and everything taken together,
the impartial vote would be in favour of Mr,
Dutt. Tanaji of Minerva was better and
Saibai and Putlabai of Kohinoor inspite of
their charming appearances were no match for
those of Minerva, but the performance on the
whole was better at Kohinoor, though sales at
Minerva were not less satisfactory than those
at Kohinoor.
Local papers too were eulogistic about the
performance of a Ohhatra Pati" which according
to the opinion of late Sir Surendra Natb
Banerjee, editor, Bengalee was "one of the besfr,
and most powerful dramas ever produced on
the Indian Stage" and Pandit Shakharam
Ganesh Deoshkar, the worthy Marhatta
Brahmin then editing our Bengali weekly
"Hitabadi" wrote thus in his paper :
"We hoped very much when we heard a
genius and erudite scholar of Girish Chandra's
type was writing a drama on "Chattrapati/ 5
We are now too much pleased with the book
itself as written and staged under his supervi-
sion. His mission has been successful, We
can say without any hesitation that Girish
Chandra has been fully successful in depicting
with great dexterity the rise and progress of
the Marhatta people, and there has been no
least deviation from the estimate the Marhatta
people as a whole entertain about the national
hero and leader. The character of Sivaji as
also the acts of his comrades have been fully
described by Girish Chandra,"
The "Bangabashi" too very rightly said of
Girish :
"Your compeer is your ownself"
The Statesman of 17th Nov. 1907 wrote of
Minerva performance thus :
"The popularity of Babu Girish Chandra
Ghose's powerful drama Chhatrapati which
deals with some of the most striking incidents
* Hitabadi 17th Aswin 1914.
56
in the life of Sivaji, is manifest from the large
audiences which are attracted to the Minerva
Theatre on every occasion that this thrilling
play is billed. Though it has been running for
about ten weeks now, the large auditorium was
crammed in every part and early in evening the
sale of tickets had to be stopped, the
large overflow helping to fill the adjacent
play-houses/'
National Dramas
Thus we find that the period between 1900
1907 was a period of National awakening and
Girish's contributions to the movement were
jiot less important and valuable than that of
any leader of the time. The great Bankim was
no more, but Girish as a worthy successor took
up the movement from the stage and began to
electrify the people with patriotic inspirations
therefrom. We have spoken of ^Chandcf
how the national hero should subordinate all his
self to the cause. That was in 1890.
Then the ideals of boy-hero and mother-hood
were given in the drama *'Jana" in 1894
In 1897, came out "Mayabashan" where
Girish satired the congress of the time but gave
a programme of nation's construction and
57
advocated religious unity amongst all classes
of people.
The old Century passed and the new came
and at that auspicious hour he put up the
National hero Bankim's Sitaram, with his
heroism, his resolve to save the life of a
dependant even at the cost of his life and a
programme of unity between Hindus and
Mohomedans,
In 1902, Girish gave the ideal of another
hero in the character of Rangalal in "Bhranti"
whose mission of life was not political
but national- in rendering service to man-
kind, a hero who loved his country and
race and overcame the fear of 'Death'. This
was followed by his "Satnam" producing
an ideal heroine and a Fakirram and
Charandas to whom death for the country was
preferable to death in Beneras or on the Ganges.
This drama, too, was a truly nationalistic one.
"Sitaram" inspired Kshirode Prosad to write
a drama on another national hero "Protapaditya"
and it too produced a great sensation in the
country. Then came more vigorous plays
which really began to awaken genuine spirit of
love and sacrifice for the country and the first of
these dramas was c 'Serajaddoula" followed again
by "Mirkasem". "Padmini", "Palashir Prayes-
8
58
chitta," ''Nando Kumar," followed in the Star,
and last came "Chhatrapati" staged both from
Minerva and Kohinoor. The same ideas were
also instilled through Harisadhon Mukerjee's
"Banga Vikram" and Mr, D, L. Boy's Eana
Protap, Durgadas and Mewar Patan. The period
may thus be remembered as the 'National period
of the Stage'.
Our country remembers that to the great
national sorrow, Bengal was partitioned in 1905
and the agitation inaugurated, and the Swadeshi
Movement started stirred the whole country from
one end to the other. Meetings and processions
help in propaganda to a certain extent only, but
can not continue for long and unless there is a
solid back -ground, no movement can last. The
above movements too would have proved short-
lived, were not the aforesaid dramas produced at
that time. At such time of the greatest need,
these dramas acted like a great inspiration,
and changed the servile mentality of the people.
In fact at the time of the Swadeshi Movement
what hundred lectures could not do, was accom-
plished by one single performance of Sera juddoula
or Mirkasem. But it is a pity that Goverment
has caused irreparable loss to dramatic
literature by proscribing the above dramas
including Chhatrapati.
59
To come to the Stage, after a few nights
of the performance of Chhatrapati, Sushila
made an agreement with Sarat Roy, proprietor
Kohinoor, to work there. Mr. Pandey applied
to the High Court for an order of injunction.
On ;Feb. 12, 1908, Mr. Justice Fletcher
enjoined her from working elsewhere during
the three years' agreement with Pandey.
She however sat idle, Sarat Babu helping
her with a monthly allowance. She did
not join Minerva till Girish came there
and produced "Sasti Ki Santi." The only other
new piece staged during the period was u Dalita
Phanini" (A. N. Dutt) staged on Nov. 30, 1907,
after which both Amarendra and Kusurn left
for the Star.
After the death of Mr, Sarat Roy, proprietor
Kohinoor Theatre, there was a rupture between
Sarat Babu's brother Sisir Roy and Girish, and
the latter left. Efforts were made by both
Minerva and Star to take him in, but Minerva
was able to secure Girish's services. He came
here in July 1908.
At Minerva he began to compose a social
drama "Shasti Ki Santi Is this peace or
punishment ?" based on the problem of Hindu
widows. It was at this time two famous widow-
marriages were solemnised, one that of the
60
daughter of Rai Bahadoor Debendra Chandra
Ghosh Govt. Pleader, Alipore (father of late
Mr. Justice Charu Chandra Ghosh) and the other
that of the daughter of Sir Ashutosh Mookherjee,
then a Judge of the High Court, in which case
an application for injunction was also made
by the mother of the deceased husband.
The Drama, however is not directed against
widow-remarriage but has rather discussed all
phases of the questions involving such
reforms,
It has also sought to find out proper
occupations for widows whose marriages were
not possible and lives of Fagal (Sadasheeb Eao
in cognito) and Haromani (his wife) have been
dedicated to the service of the hopeless and
helpless. Brahmacharya for widows has also
been advocated. The drama from the opening
night on 7-11-08 was acted very artistically and
the cast was as followes :
Prosanna Kumar Dani Babu, Pagal N. Banerjee
(amateur), Prokas T, Palit, Beni and Mr. Basu
Preonatty Ghose, Syamadas Satish Chandra Benerjee,
Ghenchi SatyendraNath De, Sarveshwar Nagendra
Kath Ghosh, fieboo (scammere^Himlal! Chatefjee,
Btttto Krishna Haridas Dutta, MagistrateHari-
bhusati Babu, Ganatkar (Shubhankar) A kehoy
Chfckravorty, Parbati Prokeshmoni, Nirmala
61
Heinanta Kumari, Bhubon Mohini -Sorojini (Neri),
Promada Sashimuhki, Chitteswari C h a p a 1 a ,
Haromoni Sushila Bala.
The most successful part was that of
Prasanna Kumar whose rendering of the
tragic and serious part left nothing to be
desired for. Emotional sentiments and
arguments in favour of widow remarriage,
his loss of balance at the sight of his widowed
daughter on the day of Ekadashi (llth of new
or full-moon) and his feeling of insult heaped
on him by the boys and men of his society
after the mishap that happened with his
widowed daughter Bhubonmohini, the frenzied
state when he caused the death of his elder
daughter and the compassion he immediately
felt for her, were shown with a masterly finish.
This was the first time that Dani Babu
appeared as a hero in a social tragedy and the
exta-ordinary exposition of his talents showed
that he was the man who would in future rule
the Bengali stage, and that happened when he
appeared as Upen, Durga Sankar and Shyama
subsequently. The simple but humorous expre-
ssions of the idiotic Heboo were very interesting
and both Pagal and Haramoni were natural to a
degree. The play though a grim tragedy
caters however to all kinds of tastes and
62
embodies in it like many tragedies of
Shakespeare, situations both humorous and
intensely pathetic.
The reputation of the drama spread far wide,
and the bulk of the audience consisted of
graduates and undergraduates,
Sasti Ki Santi was succeeded by Mr. D. L,
Koy's historical drama "Mewar Patan" which
chronicles the glorious career of Amar Singh,
the worthy son of the great Eana Protap. It
was staged on 26th Dec. 1908. The drama was
a great success and its patriotic songs were
highly captivating. The cast was distributed
as follows :
Amar Singh Dani Babu, Govinda Singh Mr.
Palit, Sugar Singh Haribhuson BhaUacharya,
Aroon Singh Satyen De, Satyabati Prakashrnonii
Mauashi Susila, Queen Sorojini.
Dambaz and Sahjadi two Operas of Atul
Mitra intervened Mewar Patan and Shajahan
another powerful and interesting drama of
Mr. D. L. Eoy which was staged on 29th Aug.
1909.
Shajahan is an oft-staged piece and
patriotic sentiments, masterly delineation,
fine dramatic touches and its sweet rapturous
songs have even to day made the drama a unique
success. The patriotic song the best of the
countries is rny native land "Amar Janma-
63
bhumi" like the poet's famous national song
Banga A mar Janani Amar, Dhatri Amar^Amar
Desk will never be forgotten. Of all the charac-
ters the part of Peari Banu, Shuja's Begum,
was the most entertaining. Her witticism, sweet
songs and racy talks kept the whole audience
spell-bound with admiration and delight.
Shajahan speaks of a period of Indian history,
described before this, in "Madhavi Kankan" a
novel of Mr. R. C. Dutt, how during the mental
and physical strain 'of the old Emperor Shajahan,
Auraugzeb, the third son of the Emperor
hastened from Decoan to Delhi and by
treachery and fratricidal war, removed all
obstacles from his path to tho throne which
he himself ascended at the end, by putting his
brothers to death and flight, Dani Babu did full
justice to the part of Aurangzeb. The Court
scene in act II in which he was successful
in pacifying tho discontented chiefs was simply
superb.
The author, Mr. D. L. Roy has taken
certain hints from Shakespeare's King Lear and
tried to draw a parallel between the condition
of the Emperor and j)hat of King Lear. *
* "Ingratitude thou marble-hearted fiend
More hideous, when thou showest thee in a child
Than the sea-monster I"
"How sharper than a serpent's tooth it is
To have a thankless child ! - King Lear Act. 1 Scene 4
64
Babu Preo Nath Ghose fully justified his
part in the title role and was supported in the
oast by the following artists :
Data Mr. Palit, Suja Hiralal Babu, Dildar
Hari Bhusan Babu, Mahomod Satyendra Babu,
Soleman Ahindra Dey, Dilirkhan Mrityunjoy Pal,
Jasobanta Sing Nagendra Ghose, Jahanara
Sudhirabala, Mahamya Prokasmoni, Peara Susila,
Nadira Hemanta Kumari.
This play continued to have a good run till
the X'mas skit Bhagirath based upon the funny
tale of the world-renowned poet Babiiidra Nath
was presented to the audience.
Although Girish's health was failing and
he suffered from Asthma now and again, he did
not hesitate to appear in the role of
Jogesh supported by Babu Eadhamadhob
Kar (Girish's earliest colleague) as Bhaja-
hari, Haribhuson Babu as Eamesh, Dani
Babu as Suresh, Preonath Babu as Sibnath,
Tincowrie as Jnanada and Susila as Profulla.
Nor is this all. He gave another
surprise to the public . The part of Chandra
Sekhar had hitherto been taken by his famaus
pupil Amrita Lall Mitter of the Star,
but Girish in his old age and with broken
health, showed to every body's astonishment
and delight how superb the representation of
65
that part could be. Here too Girish by his
supreme histrionic art cast even his gifted pupil
into shade ! He appeared twice in this role on
the 15th May and 16th June 1910 with Dani
Babu as Protap, Mr. Radhamadhab Kar as
Foster, Priyanath Ghose as Mirkasem, Akshoy
Chakrabarty as Biswas and Susila as Dalani.
Then again he gave a benefit performance
on the llth August in aid of the famous poet
Eajani Kanta Sen who was then lying seriously
ill at the Medical College Hospital
In the early part of Aug. 1910 Tarasundari
again joined the Minerva, and with her as
Shaibalini, Girish appeared in the role of
Chandrasekhar on thelSth August. Again
on the 20th August, for the last time in
his life he appeared as Pashupati in Mrinalini
with Tarasundari as Monorama and Shusila as
Girijaya. This was the part which years ago
proved him to be a peerless artist, and would
have adorned any artist of Europe with royal
honour as Babu Amritalal Bose used to say.
After this, with the approach of the ensuing
winter, he again fell ill and had to leave for
Benaress
Girish's Last Dramas
But although he grow old and his
i was
9
health was declining, his imaginations
66
and mental powers however saw no signs of
decay. The last three dramas without any
parallel in the Bengali Literature are living
evidence of his intellectual vigour and dramatic
genius. These not only show the poet's keen
insight to the great truths revealed to the saints
and philosophers of ancient India, but are
enlivened with great interest for the present.
* : Sankaracharya" was put on the boards on
the 15th January 1910 and showed how abstruse
teachings of Vedantism Asti, Bhatiand Pritie
Ahang Jnanam, could be made intelligible to
the common people. Our readers know full
well that Sankarcharya was the great Apostel
of Hinduism who lived and flourished at one
of the most critical periods of India history.
When the Budhist Tantriks were degrading
religion into immoral and brutal practices,
Sankar preached the broad principles of
Hinduism based upon Vedantism and freed it
from all corruptions and degenerating influences.
By his great intellectual genius and super-
human moral force Sankaracharya scored
victory after victory over all the sophists and
Tantriks and made Hindu religion once more
revered and respected throughout the length
and breadth of Hindusthan. Indeed, the great
fame of Sankaracharya will ever live enshrined
67
in the heart of his co-religionists and in the
minds of the students of Philosophy of all ages
and of all countries. Girish Chandra had been
engaged over this drama for a long-time and
had done his best to introduce the religious
teachings of the great Master in the way most
acceptable fco the people in general.
The play was witnessed by the cultured as
well as by ordinary people and had a very good
run. An instance, as how to a Vedantist a
Chandal is no more untouchable than a person
of other castes is seen in the following conversa-
tion, and it was written long before Mahatma
Gandhi preached his cult of the removal of
untouchability. Sankar enters the ghat of
Monikarnika at Benares, when Mahadeb in the
guise of a Chandal with Chandal followers and
four dogs signifying the four Vedas surrounded
him and indulged in songs as if under the
influence of intoxication, Sankara was much
offended at this and addressing them said :
"Ah, Chandal, what kind of behaviour is
this ! Why are you .obstructing my way to
bathe in the Ganges ? Thou art untouchable,
keep at a distance, and let me pass/'
The Chandals did not move but looked
amazed at the expressions of Sankara. Sankara
68
grew furious and asked them to depart, to
which the Chandala gave the following reply :
"You look like a Sannyasi, but you have
no sense.
"The sun that shines in Ganges or is reflected
on the intoxicants in the Handis is the same ;
Hallo, this person has still vanity and does
not know one, but knows only many separate
and distinct."
Sankara was roused to his senses ; he asked
Mahadeba to forgive him and wanted him to
appear before him in his true from.
The part of Sankara is the most important
part in the whole book and Dani Babu succeed-
ed in giving expressions to the various roles of
the great reformer, as a philosopher, as a
preacher, and as a commentator, and thus was
successful in exhibiting the real spirit of the
author. He was supported by the following
persons in the cast :
Mahadeb & Ugrabhairob Satis Ch. Banerjee,
Shishoo Sankar Sarojini,Bishista Hemanta Kutnari,
Mahamaya Rajabala (next Susila), Madan Misra,
Vyasa & Govindanath Haribhuson Babu, Jagannath
Nripendra Ch. Bose, Sanonda Satyen Dey, Santi-
pada Nagendra Babu, Ganapati Hiralal Babu,
Sheoli Satkari Gangitlee, Seoline Tincowrie (Junior),
Sttouna Neerada, Bharati Charushila.
69
This high-strung drama was succeeded, as a
relief only by a historical drama of Kshirode
Prashad Banglar Mashnad where the author
delineated with masterly skill the historical
incidents that led to the accession of Alivardi
Khan to the throne of Bengal, It was staged
with the following cast :
1 Sharfaraz Dani Babu, Alivardy Preonath Ghose,
Nowajesh Ahindra Dey, Maleka Susila, Ghaseti
Charushila.
The play was staged on the 2nd of July 1910,
and succeeded by two comic operas of Mr. Atul
Krishna Mitra "Pashane Prem" with Tara-
sundari as Santilata staged on the 3rd
September and "Thike Bhool" staged on the 1st
of October, after that we are introduced to
another high class drama of rare merit "Raja
Asoke" of Girish Chandra.
Every student of history knows that Eaja
Asoke was the most towering and remarkable
figure amongst the Emperors of India, who had
his capital at Pataliputra or Modern Patna and
ruled o f ver an empire extending from sea to
sea and included within its limits such distant
and powerful provinces as Afghanistan, Nepal,
Punjab and Kashmere. The drama, written by
Girish Chandra, is a true and correct account
of the glorious carreer of this great Emperor,
often compared by European writers with
Marcus Aurelius and Oliver Cromwell, and it
reflects great credit on the Calcutta University
that it has prescribed this drama as a .text for
the Degree of examination in Arts.
The drama of Asoke by Pandit Khirode
Prosad staged fit Kohinoor Theatre under the
supervision of Girish Chandra revealed Asoke
as Chandasoke Asoke a fighter and powerful
man, but the present drama depicts Emperor
as D liar ma Asoke, who sought to combine
wisdom of a sage and piety of a monk, with
the prowess of a mighty Emperor to make
India a kingdom of righteousness in which the
Government should guide and help the people
in doing the right. The various edicts of Asoke
reveal him as Dharrnasoke and the book is
based upon many of those edicts, Deshabandhu
Dass (C. E. Dass) used to derive great satisfac-
tion and benefit from this book when he was
in the Central Jail, Alipore, during the period of
of his incarceration in 1921, and used to call
it a masterly drama, Asoke has been shown how
at first he was only a man of flesh and blood,
subject to ordinary passions and desires, but
how by ceaseless endeavours and astonishing
self-control, by degrees, he rose higher and
71
higher, till at the end he lived the life of a saint
full of resignation and love, a life devoted
to the welfare of mankind. He thought within
himself that his duty was to look after the
^welfare of the Kingdom which was not his but
his Master's (Budhwa's). Thus he says :
"Ami Bujhechi, Rajya, Dhan, Kirti Kalap,
Kichhu amar noy, Sakali Buddha Deber Ami
Nimitta Matra Chhilam",
"I have understood that this vast kingdom,
all wealth and renown all belong to the Lord
Buddha nothing is mine, I am simply the
instrument."
The following artists appeared in their
different characters on the 3rd December
1910 .
Bindushak (Emperor) Nani Lall Dutt, Shuseem
(1st son) Aheendra Nath De, Ashoke Dani Babu,
Beetashoke (brother) Aparesh Babu, Kunal (Asoke's
son) Sushila, Akal (Homeless & poor) Mr. Palit,
Upa Gupta (Guru) Haribhuson Babu, Mar Preonath
Babu, Subhdrangi Prokashmoni, Padrnabati Tara-
sundari, Devi Hemanta Kurnari, Sanghamitta
Sorojini, Chittahara Churushila, Tishwarakshita
Tincowrie (junior).
Thus while the Minerva Theatre
attained the highest position both in income
and reputation, it passed however, through some
72
unexpected changes and had to face certain
difficulties in its way which for the information
of our readers we ought to mention here.
We have said before that ever since Babu
Chuni Lall Deb bade good bye to the Minerva
in Feb. 1905, Monomohan Pandey began to
conduct the Theatre with help of Mohendra
Babu for which the latter used to receive one
third of the profits. Monomohan Babu's
interest was that of a lessee only.
The whole theatre-building with all appur-
tenances was, however, sold on auction as we
have seen, and Mr. Pandey purchased it on
Bs. 60,000/-. Besides, he added to the house
with a Hotel now the Minerva Cabin, just to
the east of the Theatre at a cost of Es. 6000/-.
It was settled in 1908 on July 3, between
Pandey and Mitra, that Mitra who had always
been regarded as Partner would have one third
share apportioned in his name, as soon as he
would pay one third of the above cost on
payment of Es. 22.000/-.
In 1910, differences arose between them
specially with regard to management and the
advance money for mofussil contracts for which
73
Mohendra Babu is said to have felt some mis-
givings. Pandey was also required to stay
for some time at Beneras for the construction of
a house and a temple for Shiva as desired by
his father. Mohendra Babu insisted now on the
theatre being .managed by either of the two,
instead by the two and the following things
were done in settlement :
(1) Monomohon Babu executed a deed of
sale for one third of the house etc,
and got Es. 22,000/- from Mohendra
Babu, The latter became now out
and out one third proprietor.
(2) Mohendra Babu became lessee of
Pandey for two third share for which
he was to pay Bs. 1,480 a month-
as rent,
N,B. (Rs. 1000- as honorarium, Es. 400/- rent
for 2/3 share and Es. 80/- as rent for the drop-
scene in Panday's share (2/3) but this calcula-
tion was not to be entered in the deed,)
(3) The arrangement was to be in force
f for ten years.
(4) The previous partnership was to be
dissolved.
(5) It was also stipulated that in case of
10
74
Mohendra Babu's earlier death, the
management would go to Pandey,
After this arrangement was made through
deeds executed on the llth June 1911, Pandey
left for Benares and Mohendra Babu resolved
upon continuing the theatre on his exclusive
responsibility under the guidance and manage-
ment of Girish Chandra Ghose.
An opera Mr. A. K, Mitra's "Rakampher"
adapted from E. B, Sheridan's master-piece
"School for Scandal" was billed for 17th June
1911 the first opening night of Mohendra
Mitra's theatre. But alas, just two days before
performance, to his great astonishment came the
news that about eight artists including two lead-
ing ones Palit & Aparesh Babu had left and
there was none to act the part of Jalim. Before
this, the nightingale of Minerva, Susilabala, had
also left for Amarendra's Great National on a
higher salary and handsome bonus and the
prospective actress Nari Sundari, rather grown
dull, would be a poor substitute.
Mortified, Mohendra Babu came to Girish ;
but the old man lost no heart. He encouraged
the staff and himself began to appear in the
role of Jalim. This was the day when with a
new pieee "Jivone Morone" Amarendra bowed
to the audience in the Great National and ad
usual there was no lack of announcements and
flourishing of trumpets. "Jivone Morone" had
a packed house no doubt, but Minerva also
fared not worse.
Then came the simultaneous performance of
Balidan at both Great National and Minerva
and although Amarendra Nath was very
fortunate in securing the original Jobi and
Mohit (Miss Susila and Mr. Khetra Mitra)
he, however, was no match for Girish. The
momentous day, however, came at last when on
the 15th July both the theatres announced
Balidan for the performance, Girish was then in
imperfect State of health and it was raining
in torrents from the evening, and when Girish
arrived at the theatre not more than sixty
rupees, tickets were sold. Mohendra Babu and
all others asked him not to act that night
as Karunamaya has to appear bare-bodied in
certain scenes. By the time however the play
commenced the sales came up to Bs. 400/-, To
do or not to do was the problem. But Girish
said "as so many have come even in this foul
weather to see my acting of this part, I shall not
deprive them of that pleasure/'
The ordeal was passed and Minerva's reputa-
tion maintained, but Girish had to pay dearly
76
for this. This was the last night of his
appearance on the stage. He caught cold, and in
the next six or seven months he lived, he could
never appear before the foot-light. Like the
drama, the last performance of the dramatist too
ended in grim tragedy. It cost, as we shall
see, his own life.
Then was billed Chandra Gupta a master-
piece of Mr. D. L. Roy from July 22,
1911, in which Girish would have appeared
as Alexendar, had his health permitted. Yet
the piece with Dani Babu as Chanakya was
always a great attraction and even in his last
days baffled all opposition of the modern actors,
but of this here-after.
Chanakya was a great empire-builder like
Bismark of Germany and Dani Babu represent-
ed him on the stage with unique histrionic art.
The acting was masterly, even outdoing himself
in the court-scene where Bachai puts him into
indignities and also in the last scene where he
discovers his long-missing daughter, Atreyi,
begging alms with her foster-father, formerly
a robber, now a blind beggar._*_
* Cast Alexendar Pandit Haribhusan, Seluccus
Nanilal Dutt, Chandra Gupta Preonath Ghosh,
Chandra Ketu N. Banerjee, Mura Hemanto
Kumari, Helen Sarojini, Chhaya Nari Sundari,
Nanda Ahin De, Bachai Handu Babu, Katyaon
Hiralal Babii, Atreyi Neroda Sundari.
77
"Chandra Gupta'' became so popular that it
was performed by the College-students of almost
all the colleges of Bengal and before their
performance they did scarcely fail to witness the
unique performance of Chanakya by Dani Babu.
Now as to the performance at Minerva,
Nari Sundari was quite delightful for her songs
and gentle acting full of tenderness and likewise
was Atreyi represented by Neroda Sundari for
her two famous songs :
(1) ''Jakhana Shaghona Gagana Garaje"
(2) "Oi Mahasindhur Opar Theke Ki
Sangit Bhese Ashe"
Bachal's comic acting was superb. The
title role was taken by Babu Prio Nath Ghose
who also did justice to the part, On the iwhole>
Chandra Gupta crowned Minerva with success
and its reputation was well maintained. As
however, Bajirao was the counter-attaction
at Great National, the pecuniary success at first
was not so great, so "Punar Janma" with Hiralal
Chatterjee as Jadob Chakrobarty had to be
added- In the meantime, Tincowri's services
were also secured and Tara also came in. The
Minerva, therefore, could boast of a unique
combination of artists and it gave Girish
Chandra great satisfaction in his death-bed.
It was about this time that Sarala and
Durgesh Nandini were revived for some nights
and the following casts were specially attractive.
Tincowrie Shyama and Bimala, Tara Promoda
and Ayesha, Nari Sarala Dani Babu Gadha-
dhar, and Osman, Hari Bhusan Babu Sashi
Bhusan, Prionath Babu Bidhu Bhusan etc,
These pieces were now and then enlivened by
the comic farce of Aleek Babu from the pen of
Babu Jyatirindra Nath Tagore where Tincowri
played the part of Hemangini, Tara Sundari
as Prasanna, Dani Babu as Gadadhar, Hari
Bhusan Babu as Satya Sindhu and the comic
actor Handu Babu as Aleek Babu.
The year 1911 saw great changes in the
dramatic world. Amarendra was in the
meridian of his glory, Kohinoor was also show-
ing its last brilliancy with Biswamitra and
Minerva fared gloriously with Chandra Gupta.
At such a time Girish Chandra's last drama
"Tapobal*' the triumph of Tapo or devotion,
was brought out. It illustrates in Biswamitra
how through devotional faith one is capable of
attaining great height by tiding over all ob-
stacles and in Basista the efficacy of the
self-less performance of one's duty through truth
and Ahiinsa. This is the last gift of Girish
for the stage and his country and the last
79
proved by far the best. It is philosophy and
action combined and with the veteran artists *
proved a great success having a run for
successive weeks, commencing from Nov. 18, 1911.
As Girish was ill, the artists had to come
to his house for the necessary training.
Biswamitra was as grand as before and both
Haribhusan Babu and Tarasundari matched
him wonderfully.
The duet of Sadananda and Brahrnanya Deb
was the most enjoyable. The songs of Vedamata
were extemely sweet and all the parts were
most creditably represented. The book deals
with highly intricate problems of metaphysics,
yet they were treated with such graceful case,
side by side, with music, humour, dance and
other sensational interests that they were grate-
fully received by the audience with delight and
. attention.
* Brahmmanya Deb Neerada Sundari. Viswamitra
Dani Babu, Sadanonda (Vidushoka) Handu Babu,
Vasishta Hari Bhuson Bhattaoherya, Trishonku
Preonath Ghose, Shakfcri and Amb.ireesh's priest
Aheendra Babu, Brahma & General of Bis warn ifcra
Satyendra Babu, Kalmashpad & Indra Hiralal Babu,
Dharmaraj Narendranath Sinha, Badari Tincowrie,
Arundhati Prokashmoni, Sunetra Tarasundari.
Vedamata Norisundari Brahmin Boy Shashimukhi,
Shdrioshek, Parasar Parulbala.
80
The success of the play was 'warmly recorded
by the local papers and we quote only one
from "Bengalee" here.
"Last Saturday the Minerva Theatre staged before
a crowded and appreciative house that master-
piece of religious drama the "Tapobal" by the
veteran dramatist Babu Girish Chandra Ghose.
The performance was a splendid success and
although the characterizations in the drama were
the most subtle and varied, the actors and
actresses were fully equal to the task and acquitted
themselves admirably to the delight of the
audience. Among the scenes the Pushkar, the
illuminated place of Bishwamitra, the aerial flight,
a lake in the Himalaya and the Saptarshi Mandal
deserve particular notice. The drama represents to
the Indian audience the power of ascetic austerities
as mentioned in the Vedas and the Puranas, how
power of spiritual acquisition enables the votary
to raise himself to the highest dignity unsurpassed
by all."
The drama brought home to his countrymen
the supreme height of spiritual and moral
perfection to which its author had attained.
Heavenly light illumined his mind and it
seemed that he was more in communion with
the spirit of his Guru. The more was his body
in decay, smitten v/ith disease, the closer seemed
to be the contact. At such a time when he
was enjoying heavenly peace, the word Earn-
81
krishna was uttered thrice by the poet, after
he had passed three sleepless nights, and he
then lay in eternal slsep on the 9th Feb. 1912*
(Magh 25, 1318 B.S.).
A colossal figure passed away from Bengal
and the whole of Calcutta came to pay their
last respect to the poet and artist and on the
10th all theaters were closed, that being still ft
Saturday.
National feeling became vocal in a meeting
of the Town Hall on Sept. 6, 1912 which all
the culture of Calcutta attended, hundreds
standing for want of seats. The present writer
who attended the meeting had to stand up all
the while, but the whole scene appeared to him
to be one where the tributes paid were so natural
and spontaneous that the whole nation felt as if
deceased was their nearest and dearest.
Maharajadhiraj. Bahadoor of Burdwan
Bijoyachand Mahatab on the motion of Mr.
Sarada Charan Mitra Ex-judge, Calcutta High
Court and Bai Jatindranath Chowdhury of Taki
was voted to the chair. Babu Kiron Chandra
Dutt, composed a suitable poem and Babu Deb
Kanta Bagchi sang a song composed by Babu
Behari Lall Sarkar Editor of the "Bangabashi,"
The President in a feeling speech referred,
amongst other matters of head and heart to the
11
82
devotional side of the poet calling him "Khep$
Mayer Khepa Chhele" the headstrong son of a
reckless Mother.
Sir Gurudas Banerjee, the famous ex-judge
of the Calcutta High Court, spoke feelingly
"People often could not take a man at his true
worth when alive, but the community began to
feel its loss when a great man was dead. That
was exactly the case with Girish Chandra. He
was a class -fellow of Girish and held him
in high esteem. He would even go so far
as to say that Girish Chandra Ghosh was an
object of great adoration. In spite of the evils
that might exist in the stage it could not be
questioned for a moment that he was also a
great teacher of men and was capable of doing
immense good to the society."
Babu Bhupendra Nath Bose, afterwards a
Member of the India Council, expressed
that twenty years ago, men of culture and re-
finement used to shun the Bengali stage as an
undesirable place but with its gradual improve-
ment in all respects it was now a useful institu-
tion of the country and enjoyed the sympathy
of the educated men. The change was un-
mistakable. The gentlemen connected with
the stage were no longer looked down upon.
Besides the deceased, another name that of
83
Babu Amrita Lall Bose, was also held in esteem
by the people generally.
Babu Mati Lall Ghose, Editor, Amrita
Bazar Patrika, and Babu Panchkori Banerjee,
Editor, also spoke on the occasion, but the most
moving and stirring speech was that of Babu
Bepin Ch. Pal, then a leader of public opinion,
who addressed the gathering thus :
''Unlike many of our poets who soared high
into the region of idealism and made a display
of their genius on the people beneath them,
Girish Chandra was a creature and a poet of
the world. His genius grew in the dust of the
world and rose higher and still higher until
freed from all its impurities it shone forth in
all its glory. There- in lay the greatness of the
poet and that was why Girish Chandra could
write his Bilwainangal."
Babu Sarada Charan Mitra said "Girsh
Chandra was 'extraordinarily fond of study.
One day, I went to see him in an untimely
hour. I found him busy reading the History
of the 19th century He was as much a
virtuous man as he was a poet. Some of his
virtures are not ordinarily seen....***
Mr. A. L. Bose said "I was a labourer wane
Girish Chandra was a Mason, in building the
84
stage. In his composition he was not satisfied
until it fully satisfied him. Once during the
Dress-rehearsal one lull act of "Chaitanya Lila"
was thoroughly changed and recast."
Thus people of all shades of opinion, high
and low/gave expression to their sincere feelings
of sorrow and respect for the Bengali Stage and
its father, the greatest Bengali dramatist, and
the poet.
This was not all. Condolence-meetings were
held all over the country. Every class of
people expressed their sincere sorrow at the
great National loss caused by Girish's death.
There was a meeting even of the Calcutta
actresses at the Star Theatre, presided over by
Babu Amarendra Nath Dutta, where Sushilabala,
Nari Sundari, Basanta Kumari, Eani Sundari
and others most feelingly paid their homage
to Girish for providing them with honest
occupations and for imparting to them messages
of religion and of Harinam through his dramas.
Before the Town Hall meeting was held, all
th6 ? Bengali Theatres of Calcutta combined
together to show a joint performance for
faising funds for the memorial of the dramatist 1
and on .the 27th Aug : 1912 his Balidan and
Pattdav Gourava were staged at the Kohinoor
Ebeatee.
85
The house was over-crowded and the
collections amounted to Rs, 3600/- the prices
of tickets being raised on that occasion, as Pit
to Ks. 2/- in place of Re. I/-, Stall Rs. 3/- for
Rs. 2/- and so on. Mr. Amarendranath Dutt was
the organiser and Babus Ainritalal Bose, Mono-
mohon Pandey, S, K. Roy and himself issued
an appeal for the preservation of a suitable
memorial of the founder and father of the
Bengali Stage.
The following artists took part in the per
formances :
Balidan : A. L. Bose Karunamoy, Rupchand*
Upendra Mitra (Star), Dulal Dani Babu, Mohit
Khetro Mitra, Ghonoshayru - Monindra Mondal,
Kisore Apareah Babu, Kalighatak Akshoy Chakra-
borty, Eamanath Hiralal Chatterjee, Inspector
Nagendra Gohsh, Eajlaksmi Bani Sundari, Sareswati
Tara, Jashomati Hemanta (Minerva), Jobi
Sushila, Matangini Prokasmoni, Kironmoyi Kiron-
bala, Hiranmoyi Charubala, Jyofcirmoyi Shushila
(junior), Jhee Chapala.
Nari Sundari Sang "Aiu kahan meri--, Sushila
sang "Bhatar Keman misti/' Kashi Babu and Baaanta
Kumari^ang the duet "Ke poati rashabati -"
Pandab Gourab : Tincowrie being absent, the
part of Shubhadra was taken by Sushilabala ; Bhetm
Amarendra Nath, Konchuki Pandit Haridhuson,
Bhisma Tarak Palit. Dandi Preonafcb Qbosej
86
Judhistir Nani Lai Dutta, Arjoon Gopal Das
Bhatterjee, Krishna Hiralal Chatterjee, Urbashi
Promoda Sundari, Gheserani Nari Sundari.
After the curtain rose, the audience listened
to a poem of Amrita Babu with tears in their
eyes. It was read by Amar Babu.
Thus was honoured the great poet, dramatist
aud actor manager of Bengal who by life long
devotion for about 50 years had built and
perfected the Bengali Stage. He wanted that
the theatre should not only be a place of mere
amusement but of public instruction as well a
platform for the creation of public opinion, and
an institution for mass-education. He succeeded
in his mission, but at great personal sacrifice.
For his association with women * on the stage,
he was looked down, but he cared not. He has
given the country much The Bengali Stage
became a great institution and is still flourish -
* The world has greatly changed since Girish's time.
Old conservative ideas had to give place to liberalism
and progress. The former irrational odium does no
longer attach to the stage. Many educated men have
taken up the vocation of an actor, and the present
writer offers no apology for appearing as Karunamoy
with professional actresses on the stage during the
Centenary celebrations of G Irish Chandra, held under
the auspices of the "Girish Parished" on the boards of
the Minerva Theatre on four occasions.
87
ing and Girish was its father. He deserves thus
the greatest homage of the people of his country.
The Great Desha-Bandhu Chitta Eanjan
Dass of Bengal had always felt Girish's loss very
keenly and he always used to say that Girish
was a great savant. How much he appreciated
the great dramatist may be gleaned from the
observations he made from ,the chair, while
presiding over Girish Chanra's anniversary-
meeting in February 1924 at the Monomohan
Theatre :
" Girish was not only a great poet,
and writer, but his writings breathe the spirit
of Nationalism, Eeligion and reformation of a
true Bengali. He kept up, nay rejuvinated
the above special traditions of Bengal and
preserved the continuity from Chandi Das
right down to his age. His dramas are not
written after the style and pattern of European
or of Anglicised dramas but are thoroughly
imbued with the spirit of Bengal. His dramas,
are Bengalees' dramas, they fully represent the
sentiments of the Bengalees and have a great
place in the Nation-building of Bengal which
ultimately leads up to Swaraj. Indeed the title
"Mahakabi" has never been so figttingly applied
as to Girish Chandra.
"I do not belive in European culture.
Those who say earth for earth's sake are gross
materialists and have no right to speak about
culture. Eeligion and life are not separate
entities. Those who separate both, lose both,
Girish Chandra was fully possessed of his in-
individuality and he did not require to go to
Europe and America to purchasee fame there.
He remained contented with Bengal and
Benglees. He lived here, worked here, and
here in Bengal that Fame has presented him
with laurels. The time is not far off when the
West will come to Bengal and study our
language, poetry and philosophy with pride, and
take pride in the culture of the East. Then will
Girish, a true Bengali, a true poet of Bengal
and a disciple of Eamkrishna be fully known
to the west and appreciated and admired there/'
It may be worth mention that Girish
centenary celebrations are being held this year
throughout India.
CHAPTER III
MINERVA THEATRE & UPEN BABU.
The. lamented death of Girish Chandra was
followed by the death of Babu Mohendra Mitra
also on May 9, 191-2 and Minerva again fell
into a crisis.
Since June 7, 1911, when Mohendra Babu
was managing the Theatre with Girish's help,
the theatre was much improved with furniture
largely added to. With his death, these now
came to be in possession of Mohendra Babu's
brother Babu Upendta Kumar Mitra who took
Letters of Administration from the High Court,
on behalf of and as the guardian of Mohendra
Babu's only son Babu Sisir Kumar Mitra,
who was then minor. In the meantime Babu
Monomohon Pandy came from Beneras and
took possession of the theatre on the plea that
according to the deed of agreement the theatre
would be managed by him (Pandey). Pandey got
most of the artists on his side. Disputes arose
between the parties and the matter came up to
90
the High Court for decision, * on Upendra
Babu's plaint which disclosed :
''That when he was in possession of the
Minerva Theatre and was managing it, the
Defendant (Mr. Pandey) on the 13th May 1912,
with the assistance of a number of Goondas or
professional ruffians forcibly entered into the
said premises and took forcible possession of
the same."
Upendra Babu prayed for the appointment
of a Eeceiver.
Monomohaii Babu in his written statement
denied those allegations and contended that
possession was taken with the consent of
Upen Babu.
Mr. Hari Das Bose Bar-at-law was appoint-
ed by the High Court to examine the accounts
6f the theatre since the purchase in 1905, as
on this, the period of partnership would largely
depend.
* Suit No. 1>95 of 1913, High Court of Judicature
at Port William in Calcutta. Messers B. C. Mitter,
C. C, Qhose instructed by Fauna Lall De for Upen
Babu and Messers S. P. Singh, C. R Das, P. R. Das
& N. Sarkar instructed by Manual Agarwalla for
Monomohan Babu.
The case continued for some time and the
following preliminary order was passed on
July 24, 1913 :
(1) Mr. Monomohan Pandey was to deposit
Bs, 760/- a month with the Registrar of the
High Court, original side, till the disposal of
of the suit, and the theatre to be managed by
him.
(a) Mr. Pandey was to give security for all
rent from 9th May 1912 (Date of Mohendra
Babu's death) to 30th, June 1913, at the rate
of Bs. 750/-
(3) Monomohan Babu was to give security
of Bs. 5,000/- for the goods alleged to have been
received from the Minerva Theatre.
(4) Monomohan Babu would not be allowed
to remove any ariticle concerning the Minerva
Theatre except for business.
It was made clear that the above order
would however, have no effect on the rights of
the respective parties. Thus the theatre
continued to be managed by Mr. Pandey but in
1915 matters took a serious turn. He had
some time ago purchased the Kohinoor
stage at Sheriff's sale and now during the
pendency of the suit Monomohan Babu removed
ftll scenes, stage & dress etc. and took all artists
there to conduct the Minerva Theatre on that
The date of this alleged removal was some-
time in the early part of August when under
the name "Minerva", Monomohon Babu got
Girish Chandra's u Kala Pahar" staged on August
7, 1915 * on the Kohinoor Board.
As soon as Upendra Babu heard of the
removal, he immediately prayed for an order
of injunction. Mr. Justice A, Chowdhury who
heard the petition, wanted to be assured that a
proper person who would manage the Minerva
in its board, was there, before he would pass
orders. Upendra Babu came forward and an
order was passed giving him the right to
become the lessee. Monomohan Babu was
enjoined from using the name "Minerva" at the
'* Caat of Kalapahar as revived on 7th Aug.
Chintamoni Dani Babu, Kalapahar Preonath
Qhose, Bireswar Nageudra Ghose, Chanchala Tara
Sundari, Murala Prokas Moni, Eman Sashi Mukhi,
Leto Hira Lall Babu.
N. B. In my work "Dani Babu" P 124, date of
opening has been wrongly given as 17th Aug. 1914,
In Sachitra Sisir too dated 31-5-41, date was wrongly
given as 31st Aug. 1915. The most authentic date is
Aug. 7, 1915. Author.
Kohinoor stage. The rent of the Minerva was
fixed as Bs. 1,050/- out of which Upendra Babu
was to pay Bs. 700/- to Mr. Pandey and
Bs. 350/ to Sisir Kumar Mitra (Mohendra Babu's
son). Hence forward Upendra Babu commenced
theatre at the Minerva Stage in his own name
as its lessee from October 2,1915, and Mono-
mohan Babu named his Theatre at the Kohinoor
stage as "Monomohan Theatre."
We shall pause here to give an account of
the dramas staged at Minerva during Mono-
mohan Babu's incumbency after, Mohendra
Babu's death.
After Girish Chandra's death, Dani Babu
had been made manager by Mohendra Babu and
Daria (Sourin Mukerjee) was staged on 6th
April 1912. After that two minor operas'' Media"
(Kshirode Babu) and "Amla Madhoor" (Kali
Mitra) were put in boards, but the most memor-
able piece was Girish Chandra's posthumous
drama, Grihalakshmi t staged on Sept. 21, 1912
with the following cast :
Upen Dani Babu, Sailen N. Banerjee, Hiru
GhosalAparesh Babu, Nirode Kshetro Mitra,
Monmotho Satyen De, Baidya Nath Nagendra
t The fifth act remained to be finished and it was
so done by Babu Devendra Nath Bose, for which an
acknowledgement was made by Dani Babu,
Ghosh, Netai Preanath Ghosh, Siboo Ukil Mr.
Tarok Palit, Sarat Hira Lall Chatterjee, Abadhoot
Hari Bhusan Bhattacharjee, Satis Anukul Batabyal,
Inspector Madhusudhan Bhatta, Beroja Tara Sun-
dari, Torongini Prokashmoni, Sorojini Sorojini
(Neri) Full Neroda Sundari, Kninudini Charushila,
Monikirtoni Hemanta Eumari.
On the opening night at the beginning, a
song composed by Girish Chandra's amanaueis
and biographer, Babu Abinash Chandra Ganguly
was sung by all artists in chorus, the concluding
couplet being ;
She Je Banger Gourab, Banger Shourab,
Banger Kaustuvahar,
Banger Girish, Banger Garrick,
Banger Shakespeare"
The play was a brilliant success and all the
parts were rendered very ably. Amongst others
Dani Babu was at his best. The scene where
in the domestic quarrel Upendra taking side of
his brother, fell fainting (Act II) with the cry
(No doctor, call pleader, raise the wall of parti-
tion and break the temple of worship) and the
scenes of madness *'Mari Mari Nerod Chandra
Be" "Maharaj Nando Kumarer hoe Chhillo,
Nirer o habe" etc, were specially touching and
heart-rending.
95
This tragic part rendered by Dani Babu was
in keeping with Prasanna Kumar and
Serajuddulla and it was considered that he
excelled himself in such part. It may be
worth mentioning that the part of Upen was
written by Girish for himself.
Tara Sundari maintained a dignity worthy
of Bada Bou who finally saved the family-name
and represented to a finish affection and duty
both combined.
The whole audience and the theatrical
authorities were astonished beyond measure
that Dani Babu could display such excellence
in acting even without the help of his lamented
father. The beginning thus proved a great
success.
Mr. Banerjee used to play the part of Sailen
very well. There was nothing which could be
taken exception to. The last scene where he
lamented his dying brother, was most touching.
Kshetro Mitra, Palit and Aparesh Babu did
well and Prakas-Moni was at her best.
On the first night of Grihalakshi, a new
actress appeared for the first time on the
Bengali Stage who gained much notoriety
hereafter as a good songstress and in acting
tender feelings. This was Ascharja Moyee who
sang a song in the house of Kumudini that
night.
Minerva then took "Chandra Sekhar" Aparesh
Babu and Tara Sundari appearing in the roles
of Chandra Sekhar and Saibalini. Dani Babu
acted the part of Protap, Khetra Babu used to
appear as Laurence Foster and Ascharjo Moyee
as Dalani.
On 10th May 1913 "Bhisma" by Kshirode
Prorad was staged with Dani Babu as Bhisma,
Palit as Parsuram, Sorojini as Araba. After a
few nights Tara Sundari used to appear as Amba
and her expression with the words "Bhismer
Needhan ek Matra Uddashya Amar'' was
superb.
9th August, 13, Bidaya Abhishap was
staged but when next "Bhaigya Chakra" was put
on boards, Dani Babu fell ill. In the meantime
Natyacharya Amrita Lall Bose came here and
his "Nava Jouban" was staged on Dec. 20, 1913
with himself as Basanta Kumar and Tara
as Aloka.
After having recovered Dani Babu appeared
in Neoti (Kshirode) as Bhanru Dutta and as
Antony in Cleopetra (Promotho Bhattacharya).
In Aheria (December 26, 1914), Aparesh
97
Babu as Moolraj and Neroda as Eetu were
specially effective.
In the meantime "Khasdakhal" too was put
here with the author in the role of Netai, Dani
Babu-Mohit, Charushila as Giribala, Tara
Sundari-Mokshada, Mr. Palit as Thakurda, but
with all good acting Minerva was no match
for Khasdakhal at Star.
After the piece Ahooti by Aparesh Babu
based on "Signs of the Cross" was staged
on the 7th March, an operaic piece Hulosthool
(disorders) was put here. Beerraja was however
the last piece staged on 26th June 1915, after
which Mr, Pandey left Minerva for good.
Babu Upendra Mitra now set his whole heart
in improving Minerva. He made Aparesh
Chandra as manager and secured the services of
Tara Sundari, Nari Sundari (of Star fame) Mr.
Palit, Prokasmoni, Neroda, Charushila and
others as artists.
"Sinhal Bijoy" the posthumous work of late
Mr. D, IA Roy was put on boards on the open-
ing night October 2, 1915 and all the parts
specially Sinhabahu of Aparesh Babu and Leela
of Nari Sundari were very good. The latter
also enchanted the audience with her songs.
13
98
The remaining Cast was as follows :
Bijoy Palit, Kubeni Tara.
Aparesh Babu's "Subhadrist? (Dec. 4) and
Banganari * (March 25, 1916) the second social
drama of D. L. Eoy attracted audience but
Ram&nooj (opened on July 15, 1916) with
Tara Sundari in the main role upto three acts
was marvellously successful. It drew audience
very much and fetched sufficient money to
Upendra Babu. The tone and gravity of the
drama was very serious.
Bange Rathor and other pieces were of a
mediocre nature but 'Kinnarf (Aug. 17, 1918)
again, with songs and dances drew large crowds.
This opera from the pen of Kshirode Prosad
of Alibaba fame gave money to Upendra Babu
as Alibaba had given to Amaiendra, although
tastes of audience received a deterioration from
such light pieces. The cast was as follows :
Kinnari Neroda, Sudhon Kunja Babu, Dhano-
pati Kali Charan Banerjee, Makari Charu Sheela,
Kinnara Kaj Nagendra Ghosh,
In 1919 owing to some difference Aparesh
Babu left for the Star and Palit, Tara Sundari
and Niroda Sundari also accompanied him,
* It is said that Roy was drawn to draw the social
side of marriage from Girish Chandra's "Balidan."
99
After Aparesh Babu's departure the next
piece which attracted audience and maintained
Minerva's reputation was Meeshar Kumari a
drama by Babu Barada Prosanna Das Gupta
where 'Naherin' was very ably and artistically
done by Miss Sushila Sundari, a new actress who
lately joined the stage. Naharin put the
actress into lime light and although she has
practically retired now, her casual performances
of Sarawati in 'Balidan* are equally successful.
Subashini's Bula was also enchanting. Babu
Kunja Chakravorty did well as Aban. Handu
Babu, Prea Babu and Angus respectively
appeared as Ramesheesh, Sainondosa and
Kakatua on 5th July 1919.
Monisha by (Mr. J. N. Gupta I. C. S. late
Commissioner, Burdwan Division) was put on
January 11, 1920 and Kusurn Kumari who had
lately joined, acted the part of the heroine well.
The next piece "Kelore Kirti" by Bhupen
Banerjee was highly successful with Handu
Babu as Kelo, Kunja Babu as Karta and Kartic
Babu as Magha, and the house used to be a
packed one. Barada Babu's Nadirshaha with
Handu Babu as the hero, Susila as Begum and
Charusila as Akbari may be worth-mentioning. .
In 1922, Minerva Theatre was strengthened
by two recruits of the new school Babus
100
Badhikananda Mukerjee and Naresh Chandra
Mitra. After these two gentlemen joined the
Minerva, they appeared in "Chandra Gupta" and
"Shajahan" (Eadhikananda as Antigonus and
Aurongzeb and Naresh Mitra as Chanakya and
Shajahan), Palaramer Swadeshikata was next put
on June, 18, 1922, Badhika Babu appearing as
Palaram and Naresh Mitra as Mr, Jacob. The
part of Palaram was very well rendered. Badhika
Bpbu also did very well as Mr. Singh in Bibaha
Bibhrat.
Thus while the Minerva Theatre under
Upen Babu was maintaining its previous
reputation, a very unlucky star came in the
ascendant. On October 18, 1922, it suddenly
caught fire and was burnt to ashes.
The last piece acted was Bhupen Banerjee's
opera "Phoolashara" with Subashini as Madan
and Navotara as Batee.
Upendra Babu is not, however, a man to be
dis-spirited at this. He had the requisite
perseverance, got the theatre again rebuilt
through the help of a financier and opened
Mahatap Chandra Ghose's "Atma Darshan"
in August 1925.
During the intervening period Upendra
Babu arranged performances to be staged in
loi
Mofussil and sometimes in the Monomohan
Theatre and afterwards showed some per-
formances at the Alfred Stage also, of which the
following are worth-mentioning :....
1923, May 30 Eakomri (Barada Prosanna)
Sept. 9, 1924 Jivon Juddhwa (Monomohan Eoy)
adapted from Victor Hugo's Lea Miser-
able, Meghnad Kartic Babu, Inspector
Satyen Babn,
.Nov. 8, 1924 Jore Barat (Bhupendra Banerjee)
Joysankar Kunja Babu, Barrister Kartic Babu.
Dec. 25, 1924 Kritanter Bangadarshan. Kritanta
Kunja Babu, Mahabeer Handu Babu.
1925 April 14, Thaker Mela a concourse of cheats
(Dr. Naresh Sen Gupta) Thak Handu Babu,
1925 July 18 & 19-Daleem (A three-act drama ren-
dered from the story of Deshbandhu C. R. Dass *)
Subasbini appearing in the main role with AnwIIa
Dutt as Hero, Tulsi Banerjee as Nabin and Pro-
kashmoni as quarrelsome mother-in-law.
The performance of Atmd Darshan com-
mencing from August 8, 1925 met with high
encomiums and ran successively for a number
of nights with :
Hanc\u Babu as Mono-Raja, Tulsi Banerjee as
Kama, Satyen De as Krodh, Nagendra Bala, Nanibala
Qua as Queens, Subashini as Rati, Angurbala as
Bibek, Ashmantara as Bairagya, Renubala as Sukb.
* Deshbandhu passed away on June 16, 1925.
102
Barada Dass Gupta's Satya-Bhama was
staged on Decembe 25 with Subashini in the
name-role.
In 1926, Bhupen Banerjee's "BangaW was
staged on 20th March, with Kunja Chakraberty
as Dino Das, Nagendrabala his wife, Handu
Babu as Sukh Das, Subashini as Bhikarini,
Kartic Babu as Ramlochan, Asmantara as
Padma and Jiten Ghosh as Nishit.
Upendra Babu was succssful in enlisting the
co-operation of Natyacharya Amrita Lall Bose
whose "Byapika Vidaya" was a highly entertain-
ing piece. Of the artists Nagendrabala's Byapika
was the best and next might be mentioned
Sanjib Chowdhury represented by Kunja Babu.
Hiralal Chatterjee as Ghonosyam and Satyendra
De and Sasimukhi as Pushpa ChUran and Minee,
Suren Boy as Jotiswar, Subashini as Lila Lahiri
and Angoor as Chamatkar also did well. This
was staged on July 1926 and followed by
Bhupendra's "Nari Rajjey," K. C. Roy's
Dharmaghat and Bhupen Banerjee's "Juga
Mahatmya" on 24th December, which was
a parody on Rabindra Nath.
Amrita Babu was the dramatic director and
Dani Babu became the manager. He had nofc
accepted position any where after the period of
103
agreement with Art Theatre was over, "Chha-
taki" an unpublished opera of Girish Chandra, as
is so told, was put on board during the X'mas
1927 where Dani Babu took the part of Sena-
pati. This was followed by Sripada Mukerjee's
"Kamayone Art" and Barada Dass Gupta's
Nartaki on 10th December, where Dani Babu
and Ashmantara respectively took the parts of
Oshman and Nartaki.
In 1928, May 5, Amrita Babu's Jajnasheni
was staged with Dani Babu as Dhritarastra,
Handu Babu as Krishna, Sashimukhi as
Droupadi and Kunja Babu as Arjuna.
Neither the Minerva Theatre nor Dani Babu
suited each other and after a short while he
left the service and was greeted by the
Monomohon Theatre as Manager there.
Jaldhar Chatterjee's Satyer Sandhan was
then put on boards at Minerva on llth August
1928. The cast was as follows :
Arindam Sarat Chatterjee, Chandana Bhumen
Boy, Saronga Dev~ Kartic Babu, Adhira Shashi-
raukhi, Peari Angurbala, Subadana Angurbala,
Kabi -Krishna Chandra De, Purohit Probhat Singh.
In Dec. 22, 1928, "Jati-Chhyoota" by Sarat
Ghosh was played with the above artists h$ad-
ing Handu Babu as Eaja Gonesh and Nagendra-
bala as Tripura Sundari, and was followed by
104
Subhadra (13th July) and Sree on the 21st
December 1929 respectively.
In the meantime Babu Ahindra Choudury
(then popular with the part of Mriganka) left
Star for the Minerva and became its Manager *
(April 1930). He first apeared as Ghandradhar in
Behula with Asman as Behula, Sarat Chatterjee
as Lakhindra and Charushila as Monibhadra.
This was succeeded by other old plays Misar
Kumari, Shajahan. He was next selected for
Doctor Sadashiva in Jaladhar's Kangarakhi in
May 1930, the leading part in Bhupen Banerjee's
Desher Dak staged on December 6, 1930, for
Budra pratap in Abhijat in June as also for
Samudra Monthon by Surendra Banerjee in
Aug. 31, 1931.
Bhupen Banerjee's farce Dharpakar, Dr.
Suren Boy Choudhury's 'opera' Manbhanjan
(staged on 16th August 1931 and Satis Ghatak's
Padadhuli two weeks after that, may be worth-
mentioning.
Alamgeer was revived with Ahindra Babu
in the main role. Next he appears as
"Bhabananda" in Protapaditya.
On October 3, 1931 "Chandra Nath"
dramatised from the famous novelist Sarat
* He had also tried in 1926, 1927 to join Minerva but
had to be enjoined by court.
105
Chandra's novel was staged * with himself as
Kailas Khuro, Sarat Chaterjee as Chandra Nath,
Hiralal Chatterjee as Brojokisore and Charu-
shila as Sulochona, Asman Saraju, Bedana
Harakali, Probhat Sinha as Monisankar. It
was followed by Bholanath Kabyasastri's
Basuki t staged on December 19, 1931.
In 1932 two pieces in which Ahindra Babu
made some mark were Puroheet staged in July
9, and Debjani staged on 10th December, In the
former he took the part of Eaj Puroheet
Matanga, Charushila that of Eani Sandhya and
Nirupama of Suchitra, Joynarayan Mukerjee
as Bhil Sardar
In "Debjani" the cast was as as follows : -
Sukracharya Ahindra, Jajati Sarat Chaterjee,
Ghantakarna Kun ja Babu, Brishaparba Hiralal,
Debjani Charushila, Sarmistha Bedana.
Ahindra Babu was here till first week of
1933, but Minerva's position was not improved
inspite of a high salary (Rs 500 a month) being
paid to him. There were differences and he
* Manmotho Bose's "Andhere Aloe" and Satis Gha*-
tak's "Hante Handi" and "Agni Sikha" may be noticed.
t Basuki Ahindra, Janmejoy Sarat Chatterjee,
Kripacharjya Hiralai Chatterjee, Indra Probhat
Sinha, Asteek Renubala, Noyanneela Chaiushila,
Kusumatonni Subaahini, Jagatkaru Bedanabala.
14
106
left for the Art Theatre Limited, and appeared
there for the first time as Shyama Kanta on
the 12th March, 1933.
After continuing for some months, Upendra
Babu hit upon the plan of reducing the prices of
admission varying from 4 as to Es. 2 and conti-
nuing performances for six days a week. The
play lasted only for two hours and a half each
occasion. The plan proved successful from
monetary point of view and the following pieces
staged in Minerva deserve passing notice :
1933, May Saktinnontra (Jaladhar) with Sarat as
Saktidhar, Ranjit Roy Dhumketu, An^urbala Nagini,
Bedanabala Kamala and Tarakbala Sunanda.
1933 December 23, "Bainanabatar." 1934 Septem-
ber 29, Sudhirendra Raha's "Maratha Mogul". The
next play Siva Sakti continued for more than 200
nights with Sarat Cbatterjee as Mahadeb,Miss Light
Cachi, Joynarayan Tarakashoor.
1935 August 31 Birja Sulka (S, Raha).
1936 Sivarjoon (Sudhir Raha), Dashyoo -(Ashu
Sanyal), Parasooram (Barada Das Gupta).
1937- June Gayatirtha (Mohendra Gupta )
Gayasoor Sarat Chatterjee, Sagarika Miss Light.
December 17, Dharmadwanda.
In 1938, Upendra Babu left the Minerva
Theatre and became the lessee of the "Star"
his activities will be desqribed there.
107
After Mr. Upendra Mitra left Minerva
for the Star, Mr. Hemen Mazumdar took the
lease. He too followed Upen Babu in the
cheap performances-plan. "Vishnumaya" was
staged on 16th July, 1938 Jaladhar's "Naree
Dharma" and next "Partha Sarathi" followed it.
Messrs Delwar Hossein and Chandi Banerjee
became lessee in 1939 and on September 16,
1939, Mr, Mohendra Gupta's ^Abhijan" was
staged with :
Nirmalendu Lahiri as Mohomed Togolok, Nibha-
noni as Rana of Vijoynagar, Subashini as Qulbauoo.
Minerva's next piece was "Devi Durga" during
X'mas, and Monilal Banerjee's "Annapurnar
Mandir" on March 3, 1940.
The condition of theatre was growing from
bad to worse and the two lessees now approach-
ed Mr. N. C. Gupta managing Director,
Chingreehatta Bone Mill Ld. who now came to
its rescue with money. The management was
now converted to a Limited company with
Mr. Gupta as Chairman of the Board, the other
directors of which being Messrs Dhiren
Mukerjee, Delwar Hosein and Chandi Banerjee.
Ashutosh Sanyal's Bandini was staged on
May 25, 1940, Dhiren Mukerjee's Jayanti on
June 7, and Kabi Kalidas on July 12, 1941.
108
Hone of these pieces, nor "Black ouf and
* House-full" fetched much money to Minerva.
Mr, Durgadas Banerjee's services were next
secured and Mr. Sachin Sengupta's "Supriar
Kirti" was put on boards as the first drama
under his direction on May 16, 1942 with himself
(Banerjee) as Nilambar, Amal Banerjee as
Swetambar, Santi Gupta as Supriya and Uma
Mukerjee as Syama,
Goutam Sen's "Doctor" was put on boards
on June 6, 1942, with Durgadas as Sekharnath,
Bhumen Eoy Somnath, Amal as Doctor, Sanii
Gupta as Asrumati and Niroda as Moniinala.
On July 18, 1942, Bidhayak's "Chirantoni"
was put on boards with Duo-gadas as Basuki &
Dr. Nag, Amal Banerjee as Harihar, Santi Gupta
as Kea and Neroda as Miss Chatterjee.
On Nov. 14, 1942, Sachin Sen Gupta's
Kanta O Kamal adapted from Gay De
Maupassant was put on boards with Durgadas
as husband and Santi Gupta as wife.
This was last piece in whieh Durga Babu
appeared on the stage. He fell ill and could
not therefore appear in Sen Gupta's next pieee
"Matirmaya"* in January 2, 1943,
* Santi Mallika, Bhumen Boy Mr. Dutt, Amal
Bafterjee Madhob.
109
Mr. Banerjee's illness (Cirrhosis of the liver)
took a serious turn and on June 22, 1943, while
little over 60, he breathed his last at 68, Rash-
bihari Avenue, Kalighat, and in him the Bengali
Stage lost a popular and brilliant figure.
Mr. Nirmalendu Lahiri's services were now
secured and the old pieces Serajauddoula,
Beesabrikha, Sajahan, Durgeshnandini were
revived. Sales improved a bit.
Towards the close of the year, Minerva-Stage
performed a very noble act. This was the period
when Girish centenary was being celebrated
throughout the country and it was quite in
the fitness of things that the Minerva theatre
founded and made famous by Girish Chandra
gave now (fiftieth year of its existence) oppor-
tunities to Girish Parishad to commemorate
the occasion by staging the dramatist's
social tragedy on four nights (Dec, 13, 1943,
llth Feb. 6th March and 7th July 1944) #
when some of the distinguished amateurs
* On the last occasion (July 7, 1944) the note-
worthy 'fact was that the part of Nalin was acted by
master Monindra Ghosh, a boy of 12 years. Since
Girish Chandra's time Nalin has not been so artistical-
ly done as by this boy. Von Scblegel's representation
was also considered by the audience as the nearest
approach to the dramatist himself.
116
and a few famous actresses under the direction
of the veteran actor Babu Kshetromohon Mitra
a nephew and admirer of Girish Chandra proved
to demonstration to what height histrionic art
could reach, if a real drama was acted -with true
spirit. Much credit has been due to the
directors of the Minerva Theatre specially to
Mr. N. C. Gupta, the Chairman of the Board,
but for whose hearty co-operation, Parishad
could not have achieved what it did.
Through Mr. Gupta's full financial help and
able guidance, Minerva Theatre is now a
growing concern. In February of this year
two talented artists Sm Kanibala & Sj Rathin
Banerjee left Rangmahal and joined Minerva,
and Sarajubala who lately joined became also
the principal actress. The management then
put on boards Debdas (dramatised by Sen Gupta
from Babu Sarat Chaterjee's novel which had
been first staged at Natya Bharati) on March 11,
1944, with the following cast :
Basanta Nirmal Lahiri, Debdas Chhabi Biswas,
Bhubon Monoranjan Bhattacharjee, Chunilal Eatin
Baneijee, Parbati- Sarajoo (original), Do mother
Neroda, Chandramukhi Raneebala, Monoroma
Labonya, Jalada Ferozo, Thandidi Harimati. .
N. B. Representation of Parboti was marvellous.
With the broadness of ideas of Mr. Gupta
Ill
and some of his colleagues, Minerva Theatre
promises to continue in its position and has
become very popular now,
Krishnadas's "Puroheet" was staged on the
24th May 44 and about the acting Amirta bazar
Patrika says :
''Nirmalendu Lahiri's rendering of the priest
is magnificent. Ranibala in her comparatively
small role was a delight to see. Kathin as the
profligate son and Monoranjan as his indignant
but weak father acted their parts well.
Bandana's acting was fine.'*
Sachin Sen Gupta's Rastrobiplap is likely
to be the next piece staged
Minerva is inseperably associated with the
name and contribution of Girish Chandra and
we are very glad to see that it was saved from
its critical position through the efforts and help
of a great friend of us and we offer our hearty
congratulations to Mr. Gupta and his colleagues
and request them to uphold the traditions of
the Bengali Stage on the lines of Girish
Chandra and popularise his stirring dramas as
much a possible.
CHAPTER IV
GIRISH AT THE CLASSIC THEATRE.
In the last volume we have spoken of the
establishment of the Classic Theatre on the
Board of the Emerald Stage and how Babu
Amarendra Nath Dutta by dint of his merit and
powers of organisation made it popular.
Indeed after the performances of Alibaba
which fetched him money, he became a power
in the theatrical world.
In February, 1898 when Beubonic plague
broke out at Calcutta and people became
restless, Babu Lalit Maitra, a young zemindar
of Rajshahi, with the help of some amateurs had
formed a party under the name of "Marvel
Theatre" and invited Girish to become their
master. The party left for Eajshahi and
showed some performances from July 2, 1898
under the direction of Girish Babu. As
however, Maitra's property was soon after
taken by the Court of Wards, the theatre was
broken up and Girish returned to Calcutta.
113
Chuni Babu was at this time Assistant
Manager of Ainar Babu's Classic. No sooner
Girish came to Calcutta from Rajshahi than
both Amarendira Nath and Chuni Babu saW
him and pressed him to be at their head,
Girish Chandra out of affection for AiUftfench'a
Joined the Classic on & nominal allow&nde.
We have seen that before this also Girish White
Mill at the Star, recast "Alibaba" and Com-
posed some songs for it.
After having appeared for some nights a&
Bam, Daksha, Clive, and for some nights as
Jogesh in Profulla with Amarendra Nath
as Bbajahari, Dani Babu as Suresh and Tincoori
as Jnanada (for the first time July and August
in this role), Girish after a few months left in
December 1898. He was again secured as drama-
tic director on Bs, 300/- per month from Mareta
1899, remodelled some scenes of "Bhramafr*
{the dramatised version of Bankings Krishirft*
kanter Will) and had a considerable share in
the production of the drama which crowned
Amar with success. The Baruni Tank and the
Post Office scenes were added by Girish *.
* Cast* of "Bhramar":
Haralal Haribhuson Bhatt, Madhabinath Chandi
Ch. De, Nishakar Dani Babu, Brhmanando Purna
Ghosh, Hare Nripen Bosje, Sona Hiral&l Chatt^jee,
Bhramar Kmsum Kuinari, Bohini Promoda Sundari,
Jamini Bhuson Kumari.
15
114
As regards Amar Babu's truly realistic and
hitherto unparalleled representation of Govinda
Lai, \ve would refer our readers to the remarks
of the Indian Mirror of the 20th September
1899, and affirm that it was as successful as it
was popular. Bankings Krishna Kanta too was
vividly depicted by the veteran actor Mohendra
Babu, It was marvellous and done to a finish.
The next attraction of Classic which
ennobled the theatre and raised also position of
Amarendra was Girish Chandra's "Pandova
Gouraba" about which we have given some
details in the last volume. "Pandova Gouraba"
and its attraction, Girish Chandra's joining
Minerva Theatre and performing "Sitaram"
there, Amarendra Nath's contest and the farce of
"Theatre", Girish's leaving Sarkar's services at
the Minerva and Amarendra Nath's bringing
him with due respect have all been narrated
before. Let us trace the incidents of the
"Classic" after that.
In the meantime Amarendra Nath put on
boards his opera "Duti Pran" on May 26, 1900,
himself taking the part of Sundara and Kusum
Kumari Malineo. This was followed by "Sonar
Swapan" and the main attraction 'Theatre'.
With these worthless pieces "Classic" began to
lower itself in the estimation of real lovers of
116
art, but with Girish's advent now, it again
revived its position. After his arrival three
other celebrated artists also oaine to the Classic
Tarasundari, Dani Babu & Tincouri. But
at the same time Classic lost a remarkable figure
of the Bengali stage ; Babu Mohendra Lai Bose
the great tragedian of Bengal died on the 8th
March 1901. The part of Gangaram in Sitaram
was his last performance.
The years 1901 & 1902 were the busiest and
most prosperous years for the Classic when
Girish's sevices for this theatre were fully
utilised. On January 26, 1901 Girish's
Asrudhara was staged with a good cast and
was enjoyable both as a pathetic and entertain-
ing comedy. #
On 20th April, 1901, Girish's Moner Matan
also fetched good amount of money with the
supporting cast :
Mirjan Dani Babu, Cowlaff Araarendra,Taher
Nripen Bose, Meber Akshoy Chakravorty, Fakeer
Aghore Pathok, King of Samarkand Probodh Ch.
Ghose, Kazi- Ateendra Bhattacharjee, Baneek
Chandi Da, Golendam Tarasundari, Delera Kusum-
kumari, l$ania Qulphon Hari, Paree*- Bani moni t
* Bharatmata Kusum Kumari, Bharata Santans
Amarendra Datta, Probodh Ghosh & Gosfchobihari,
Durbhiksha Akshoy Chakravorty, Plague Natobar
Choudhury, Arajakata Pandit Haribhuson.
Monia Kironbala. Mr. Debkantha Bagchi was in
charge of music. Nripenra Bose was Dancing master.
Tbe Mohomedan Fakir is an embodiment
of an idaal teacher ^'Bam Krighna Deb".
The songs sung by Aghore Pathak as Fakeer
in Hindi were excellent and Swami Yiveka-
nanda himself praised those very much.
Bankim Chandra's Kapalkundala which Gjrisb
bad dramatised in 1873 was now revised by him
and staged on June 1, 1901 with new scenes
added and songs inserted and appreciation of
the audience was daily on the increase.
Gmsh in five difierent roles-^Ad'hikari,
Chati-rakshak, Matal, Moote, Neighbour, and
Dani Babu in the small role "Boy-servant"
were superb and so was Amarendra Natb in
the role of the hero who keeps up his former
reputation *in the interpretation of Nandakumar.
Tarasundari truly represented Mati Bibi as
depicted by Bankim Chandra and Aghoi$
P^thok's (Kapalik) songs on Syama (Kali), were
superb. Kusum Kumari too was excelled in tba
name-role.
The Classic stage became now an extremely
reformed one. Hand-bills and announcements
even ran in the following way t
is a grazid suqcess. The v#ry
a.fetosphere is a thrill with the glow of admira-
tion arid appreciation. There was no pandering
to low papsions"
Gisish then pat Mrinalini on boards with
himaelfc as Pashupati with Tara as Monorama
and Kusumkumari as Girijaya and though the
play was very successful, Girish Chandra
appeared for two nights only. As he got scars
on the head owing to fire burning all round in
the last scene, he did no longer appear in this
part here which henceforth used to be done by
Dani Babu. Pashupati was one of the most
successful representations of Dani Babu also.
Girish's Abhishap was staged on September
28, 1901 and in 1902 Santi on June 9"Bhranti"
on July 19, Aiyna on December 25, all of which
were successful.
The serenity of the atmosphere was, however
interspersed by farces like Gtopt Katha (staged
on August 31, 1901) * but as these formed as
after-pieces of serious dramas, Girish Chandw
had to ignore the trifles.
* Eeferring to the editor of a paper "Navajug"
against whom a defamation case started by editor of
Amarendra's paper Bangalaya at first ended in
con vi obio n. Conviction was however quashed and a
ratriaj ordered. Tfce oa^e ultim^ly epdefl i^ qqmpro-
mise and acquittal of Gupta.
118
'Sant? refers to the peace after the Boer-wa*
and Bhranti again brought a new tide in the
theatrical atmosphere. Rangalal the main
character is the embodiment of service of
humanity "Daridra Narayan" and because
of the mission and the high principles which
guide him, has no fear even of Moorsheed Kuli
Khan the then Nawab of Bengal. Eangalal
represents practically the Vivekananda Mission
of which Girish was the real sponsor. It is a well-
known fact that after his return from America,
when Vivekananda was once absorbed in teach-
ing Vedanta to the disciples Girish suggested
to him the idea of working for the poor, oppress-
ed and hopeless ones. Vivekananda * Mission
was the growth after this conversation, Bhranti
represents the ideal and the part of Raugolal
was acted to truth by Girish himself The
remaining cast was :
Niranjan Amarendra, Puranjan Dani Babu,
Udaynarayan Aghore Pathok,Saligrani Hari Bhu-
san Babu, Murehid Kuli Khan Natabar Choudhury,
Sarfaraj Khan Ateendra Bhattacharjee, A nnad a-
Prom od a Sundari, Madhuri Bhuboneswari, Lalita
Bani moni, Gonga Kusumkumari.
"Bangabashi" (1309, Bhadra 21) spoke of
Bhranti as u the gem (Aoish Kanta Moni) of
* Vide Swami Sishya Samad page 94 by Sarat
Chandra Ghakravarty.
119
Dramas" and all papers including "Basurnati"
of Bhadra 26, 1309 also spoke in terms of
highest praise about the same. "Bhranti" really
produced a new wave of the spirit of service
throughout the country. The youth of Bengal
just before the Swadeshi Movement got a new
inspiration from this drama acted on the stage.
"Aiyna" is a social farce referring to an old
man who became mad after marriage of a
young girl. It is distinguishable from
Biepagla Euro in the sense that it is free from
all vulgarity. The part of Sristidhar was to be
performed by Amarendra, but when after the
second night he fell ill, the dramatist himself
(Girish Chandra) used to render the part and
the piece became henceforth much more
attractive.
1903 was a year of mixed fortunes for
Amarendra Nath. He tried to compete with the
successful representation of Star Theatre's
Protapaditya, and took up the idea of manag-
ing both Classic and Minerva which now fore-
bode loss and future misfortunes.
*
His rendering of the part of Raghubeer at
Minerva has already been mentioned. He next
gave a lease of the Minerva to Chuni Babu who
staged Sansar and Murala in April June 1904
120
In the meantime Satnam by GHrigh Chandra
Was ptit on boards df the Classic. 'Satnftm' is
a highly national drama and the character of
Vaishnabi is a trtte personification of a heroic
Woman who can bring independence to the
country. Girish composed this drama when
Tinoourie in January 1903 was there and the
part' was meant for her. But the performance
was put ofi for .various reasons and when the
drama was staged, she was not there.
The character of Aurangzeb has beefc draw"n
in an impartial way in this drama determined,
cautious but without trust to any body. There
has been nothing in this drama which could be
said to bring about any feeling of discord bet-
ween both the Hindus and Mohomedans. B&t
some of the latter, misunderstanding the ti*ue
spirit of the drama created such a row that
further performance had to be Suspended. This
meant much loss to Amarendra Nath, and
Classic suffered considerably.
Amarendra was in great trouble and we
have described in page 22, how he was compel-
led to transfer the lease of Minerva to Mr.
Panday and how he had to borrow Ks. 2500 from
Girish Chandra.
On July 23, 1904 Eaj Krishna Boy's "Tarani
adh" was staged with Amarendra Nath afc
121
Rama Kusum Kumari as Tarani. This was
preceded by "Peyar".
In the meantime Chuni Babu raised the
sales of Minerva with presents of books from
Basumati and we have seen how Amarendra
suffered great loss in the competition.
Added to this, Girish Chandra not being
able to realise three months' salaries left Classic
in November 1904, and joined the Minerva at
the insistence of Chuni Babu. Then on the
27th November 1904 Amarendra staged Babin-
dra Nath's "Chokher Bali" and the cast was
distributed as follow :
Mohendra Amarendra, Behari Monomohan
Qoswmi, Binodini Kusam, Asha (Blackie),
Annapurna Jagattarini, Raj Lakshi Panna Rani.
Amarendra Nath's troubles multiplied and
at last decrees in two suits at the High Court
crippled him much one was by Belchamber &c.
for arrears of rent and ejectment and another
by a creditor Purno Chandra Chakravorty. The
result was that Babu Atul Chandra Boy and
Purno Babu were made receivers on 3rd April
1905, but the rule for ejectment was discharged.
Amarendra Nath left the Classic Theatre
his own house,
16
122
Before he left, Amarendra got a friend and
supporter in Babu Chuni Lall Deb. Our
readers ought to remember how owing to some
difference with Pandey, Chuni Babu left his
own theatre the reconstructed Minerva.
Adversity brought both friends to the same
level now. On 18th February 1905 Chuni Babu
appeared as Mr. Moor and Amarendra as
Preonath in 'Sansar.' On the 4th March Chuni
Babu appeared as Harish and Amarendra as
Aghore, in 'Haranidhi* at the Classic.
In April 1905 Amarendra's last appearance
as proprietor of the classic was in the role
of Hariraj.
Amarendra Nath and Chuni Lall then opened
the Grand Theatre at the Alfred stage (after-
wards Natya-Bharati), the lease of the house
being taken in the name of Chuni Babu from
Eadha Kissan Mati LalL
Prithwiraj a drama by Monomohan
Goswami was staged at Grand on May 6, 1905,
Amarendra being in the leading role supported
by Chuni Babu as Joychand> author as Jodhmal,
Nikhil Babu as Bakhtier, Nripen Bose as Chand
Kabi, Ahindra De as Surjamal and Kusum-
kumari as Sanjukta. This was followed by a
social farce Ghughoo staged on ( 20th May, 1905.
123
Inspite of presents of books, sales however
did not exceed Rs, 250 a night. Minerva became,
then very popular with the master-
ful tragedy Balidan and the Star had also
risen much in public estimation, Amarendra
could not now cope with these rival theatres.
Bapparao was staged on July 29 and 'Banger
Angached* on the partition day on the 16th
October 1905. 'Devi Choudhurani' and a few old
pieces were staged and at last Amarendra at
the insistence of the Receiver Atul Boy accept-
ed service under him at the Classic on Rs. 500/-
a month. From a prince to a pauper, from
master to a servant in his own house ! He
re opened classic with Prithiraj on 21st October
1905 and also staged small farces Holoki (4th
Nov), Love or poison on 23rd December and
'Welcome to Prince' on December 25, 1905. The
Bandemataram song of Holoki, was very
thrilling,
In 1906, he tried to recover position with
Girish Chandra's Serajuddoula the success of
which at the Minerva was in the lips of every
body. Dani Babu used to come to the Classic
theatre now and again to help in the rehearsals.
Amarendra staged it on January 27, 1906 *,
but sales were not at all satisfactory. His health
broke down and inspite of attempts he could
not make any head way. Differences arose
with Atul Roy and he left in May 1906, and with
him the Classic Theatre was closed for good,
* Seraj-- Amarendra, Karimchacha Hari Bhusan,
Dansha Nripen Bose, CJive Momnohon Goswami,
JaharaKusum, Ghaseti Blackie, Alibordi Begam
Panna Bani, Lutfunnessa Binodini (Handi), Mohan
Lall Hira Lall Chatter jee,
Next he made another attempt and opened
the "New Classic" on the Grand Stage with
Bankim Chandra's 'Beeshbriksha* which was
named "Kunda" for the stage with himself as
Nagendra, Purna Ghose Debendra, Eusnm
Suryamukhi, Pqntoorani Kamal Moni and
Blackie as Kundo. He however fell ill and
the New Classic too was stopped. "Swernahar"
of Harro Nath Bose staged on November 10,
1906 in his absence was its last performance.
Crest fallen his condition may now be described
in his own words * :
"Lying in a ruined house
And with a shattered health.
Here do I lie down
Awaiting the sleep eternal",
* His poem "Rogosajya" vide Natya Mondir
Magh 1318.
CHAPTER v.
THE KOHINOOR THEATRE.
In 1907, the Emerald Stage on which the
Classic Theatre was showing performances
for about ten years was sold at the sheriff's sale
on April and Kabu Sarat Kumar Boy B. A. a
wealthy contractor and son of Babu Prosanna
Kumar Boy M. A. Vakil High Court and a ?
Zaminder, Curalgacha, Nadia purchased it at
one lac and eight thousand rupees, He intended
to have an ideal theatre and began therefore to
recruit good artists for the same. Babus
Aparesh Chandra Mukerjee, Monomotho Nath
Pal and Kshetro Mohan Mitra were already
there and Babu Kshirode Prosad Vidyabenode'e
Chandbibi was selected for performance.
The house was repaired in an up-to-date
fashon and Babu Dharmadas Sur was left in
charge of the stage management. The well*
known music party of Prof : Dakshina Cbaran
Sen was also secured.
There was a talk of bringing Natyacharya
Ainrita Lall Bose, but through the insistence
of Sarat Babu's father and Kshetro Babu. who
spared no pains to assist Sarat Babu in his
project Girish Chandra's services as manager of
the theatre were secured on an offer of Rs. 500/-
per month as salary with a bonus of Rs. 10,000/-
Rs, 5,000/ cash and Rs.5,000/- with a post-dated
cheque. Tincorie, Tara Sundari, Dani Babu,
Nilmadhob Babu, Purna Babu and others were
also appointed as artists.
The last Act of Ghand Bibi was finished by
Girish himself and he made other necessary
changes with Herculean labour. He was next
able to have it staged on llth August 1907, the
Bhadra month which would fall within next
four days, being considered inauspicious. Rehear-
sals were controlled by him fully.
On the lirst night the rush was great and
sales amounted to Rs. 2,600/-and would have
been double, had not the aocomodation been
considered insufficient. No performance before
this in stage-history commanded so large a sale.
The performance was highly successful--
parts of Tincorie, Tara, Khetro Babu being
rather of an exceptional nature. They appeared
respectively as Joshi Bai, Chand Bibi and
127
Ibrahim with Dani Babu as Adil Shah, Handu
Babu Eaghuji and Aparesh Babu as Mallaji,
Kshetro Babu's "Prem Saje Ki Rano Saje"
reminded one, as the Bangabashi remarked, of
the well-known expression of Garrick Lear.
"Pray, you, undo the buttom"
After this, Chatrapati Sivaji, Serajuddoula,
Mirkassim, Durgesh Nandini and other dramas,
were also staged drawing large crowds and
huge were the earnings of Kohinoor.
Kohinoor thus promised to he the host theatre
of this time and Girish now with a view to write
a drama on Napolean Bonaparte began to read
all books and literature relating to the great
conquerer and his sitting room (used both a
room for study as well as receiving visitors)
became now full of the books on the subject.
He also composed the well-known social drama
"Grihalaksmi" here.
But though Kohinoor rose at it should, fates
were agaii^st it. Babu Girish Chandra Ghosh
began to get Asthmatic fits and when the
disease overpowered him, he could not even
talk with anybody. Added to this, the greatest
calamity befell the Kohinoor Theatre wheu
128
Sarat Babu the life and soul of the theatre
became seriously ill and even change could not
do him any good. He was brought back to
Calcutta. On the 22nd December, 1907 when
*Dado Didi" an operatic farce was put on
boards with and as an after-piece of the ever
green drama Mirkasim and the house a packed
up one many returning disappointed, the lead-
ing actors suggested that Sarat Bubu should be
brought in a stretcher to observe in his last
days at least, the excitement of the audience for
Kohinoor plays, but it was not possible for him
even to rise from bed, At last all was over with
him on the 31st December 1907.
In January 1908, Sarat Babu's brother Sisir
Babu took up the helm and that put everything
topsy-turvy. Sarat Babu was an extremely
amiable person and treated the artists with great
consideration, but everything was changed now.
Sisir Babu with an illiberal policy could not
bear Girish Chandra and began to treat him
with indifference. Even Grihalaksmi (manus-
cript of which was read) had no appreciation
from him. While Sarat Babu used to treat
Girish Babu with the greatest possible humility,
Sisir stopped Girish Chandra's salary, because
the latter could not regularly come to the
theatre owing to his serious illness. Girish had no
129
alternative but to sue for the balance of bonus-
money and unpaid salaries. Mr. Jifstice Fle-
tcher considered the evidence of G-irish Chandra
as absolutely trustworthy and granted him the
decree sought for.
The schism brought about by the short-
sighted policy of Sisir Boy made Kohinoor's
position very weak. No doubt Ardhendu Sekhar
was brought in, but the history of Minerva
(1896) was repeated. Baruna of Kshirode Prosad
(staged on 7th March), Mohila Majlish (Durga
das De) staged on 17th October and Doulate
Dunia (Kshirode) on 21st November had little
attraction and Guru Gobinda Singh of Hara
Nath Bose staged on December 18, 1908 brought
rather a disaster. The house was crowded ajid,
when an actress in the role of Thakur Sing's
mother in the fourth act thus said U I am
mother not only of Thakur Sing, but the mother
of the whole of the Punch Ab, nay of the
whole Sikh community," some of the Sikhs
could not forget that the speaker was none but
a woman of low origin and began to create a
row, shouting "how can a Kasbi be our
mother 1" The play had to be discontinued and
even personal representations to the Sikh
Head office (old Patna) by Aparesh Babu
.and Hara Natfc Bose produced no effect. When
17
130
naxt the drama was changed into 'Beerpuja*
Giirugobinda being turned into a Marathi hero,
and staged in the next month (January 30,
1909), it had little attraction.
The next pieces in 1909 Mayoor Sinhasan
stagoci on 8th May, Pratifal on 3jrd July, Nera
Haridas, Sonar Sansar on 21st August were also
worthless, but Hjaripada Mukherjee's Durgabati
staged on Pec, 25, 1909 fetched much money.
Babe's Baj Bahadoor was another
feftt and so was Handu Babu's Jagan-
ProjQjada did well as Durgabati and was
supported by Bhuson Kumari (jr) as Mati Bibi
as Rnpamoti.
The position was tottering for the next
eighteen months and the last brilliancy of the
flickering lamp, before it died out, was only
perceived when Babu Haripada Sanyal's Biswa-
mitra was put on boards on the 26th August
1911. For some months Girish Chandra's
'Tapobal 1 was in the air and he was astonished to
find some similarity between his drama then in
preparation and the present Biswamitra, He
therefore, changed his fifth act into a mar-
vellous one,
This piece was well-represented and the part
Q| B*tm Ap$r esh Chandra, Mukherjee as Bashis-
131
tha was really true to character. The other parts
were taken as follows :
Biswamifcra Mr.Tarak Palit, Indra Kali Prosanna
Das, Satadrumi Ktisuni Kumari, Akshomala
Promada Sundari, Vedamata Nagendra Bala
(Bunchi), Arundhati Binodini (Handi).
Zenobia was performed on the 25th Novem-
ber * and Kusum Kumari as queen did well.
The last attraction was Khanjahan by
Kshirode Prosad staged on the 29th June 1912^
when Aparesh Babu was in the name role. Palit
appeared as Dadaji, Promoda as Sophia and
Khetro Babu appeared as Narain as he was
then not in the Star Theatre and prepared
the part in one day's rehearsal.
The last stage came at last when the theatre
could not run, the state was in debt and at l&sfc
the Kohinoor stage with its site was sold off
auction on the 29th July 1912. Kohinoor la
gone but all credit goes to Sarat Babti whose
early death put a stop to all his projects.
*Tn Nbvetaber the well-known
afetor Mr. Allan Wilkie came with his party
Calcutta and performed Macbtt :- on the 5th
Okhello on the llth November iftll, on tbi
CHAPTER VI
MONOMOHAN THEATRE.
Monomohan Theatre at 68, Beadon Street,
was the most popular theatre of Calcutta during
the years 1915-1924. The house which adorned
it was built first as the Star Theatre in 1883
with Gurmukh Roy as the proprietor where
Girish's dramas Daksha, Buddha, Chaitanya Lila
and Bilwamangal had been staged. The Star
Theatre was removed to Hatibagan (the present-
house) and Emarald of Gopal Seal continued
from 1888-1896. The City Theatre played for
a few months. Then the Classic theatre
flourished here for about six or seven years.
Then the Kohinoor Stage opening with Chand
Bibi showed performances and came to a close
in 1911. In 1912, the theatre became the proper-
ty of Babu Monomohan Pandey who purchased
it at Sheriffs sale on rupees one lac and eleven
thousand, on July 29.
Monomohan Babu was also the proprietor
of the Minerva Theatre for 2/3rd share. He
was continuing the theatre there, but owing to
litigations as stated in page 91, Monomohan
133
Babu brought the whole party of Minerva and
staged Girish Chandra's Kalapahar on the 7tb
August 1915. No sooner Upendra Babu came
to know of this, than he moved the High Court
which restrained Monomohan Babu from using
the name Minerva at this stage. He therefore,
named the Theatre after his name and within
a few years made the theatre very lucrative.
The most important figure however who mainly
contributed to his fabulous income was Dani
Babu, the greatest actor of the time. His
contemporary Mr. Amarendra Nath Dutt was
then declining in health and powers and his
end also was drawing nigh. Thus in Bengali
Stage Dani Babu was at that time
"Ekaschandra" the one moon in the sky.
The following pieces staged on bhe
Monomohan Stage after Kalapahar are worth-
mentioning :
(1) Kanthahar19L5 September 25.
Dani Babu used to take the part of the
robber B^nolal, Hira Lall Chatterjee of Naren-
dra, Mr. N. Banerjee of Nobin Krishna, Murari
Ahindra De, Satyendra Inspector, Mohini -
Basanta Kumari (of Star), Soroj Sashimukhi,
Syama Niharbala.
Inspite of the fact that the piece is based
on a detective story, the performance was good.
134
(2) Badshah Zadi'by Khirode prosad
idyavinode staged on December 11, 1915.
The cast* was as follows :
Aziz Dani Babu, Hamida-~Tincorie, (She was
taut at Thespian Temple appearing as Jodhbai in
"Narnmhal"), Jobeia Baaanta, Mahmud Chuni Lall
Dfcb> [from Star], Almin Mr. N. Banerjee.
The above artists having great reputation,
tehis play too gave much money to Mr. Pandey.
Bappa Rao was staged (Feb. 26, 1916) with
Dani Babu in the leading role and Tincorie as
Lachchmia, followed by Kabeer of Haranath
Bose with Dani Babu as Kabeer and Tincorie
as Sannyashini on April 8, 1916.
The next piece which gave enough money to
the proprietor was "Mogul Pathan" showing
exploits and heroism of Emperor Shershah who
defeated Humayoon in 1540, with the following
cast from July 8, 1916 :
Shersha -Dani Babu, Htunayoon Chuni Babu,
C&and Basanta, Sophia Sashimukhi.
Dani Babu's representation was marvellous
to a degree.
"PiW^irt^ 1 (Qfct. 6, 1917).^ with D^ni Babu
as Babar, Chuni Babu as Sangram Singh, Hnram
Hmari as Kama Devi and Aacharyamoyi as
185
The above pieces were no doubt worthless,
bat that did not affect the financial position hi
the least.
Debala Devi was a little better but the
drama was acted with marvellous dexerity on
August 17, 1918. Tho different poses and
movements along with vocal changes were
extraordinary with Dani Babu as Khijir Khan.
The supporting cast was as follows :
Matia Ascharjaraoyi, Alanddin (Jhuni Lall Deb,
Kafoor Hiralal Chatterjee, Kamala Soiianiouae,
Maharaatra Mother Haipriya.
The play ran for a considerable number of
nights and the part of Matia also was ably
rendered.
"Hindu Beer" (staged on Jan. 10, 1920) was
of the description of the dramas mentioned
before. AIL the same there was no dearth of
sales. Babu Kshetro Mohan Mitra joined by
this time and his representation of Mubareej
was praise-worthy, Ascharya's Meher was
acted very well,
*
Besides the above pieces which still did not
fail to draw crowded houses, Chandra Gupta,
Prafulla, Grihalaksmi, Balidan and other old
pieces specially the first where Dani Baba was
in the role of Chanakya used to fetch ranch
money and Monomohan Baba made very large
136
profits. Dani Babu also used to get a share of
profits which by degrees rose to half and
Monomohan Theatre became a very 'profitable
concern to both.
But dramas were worthless and art began to
be deteriorated. The old actors becamemono-
tonous and people generally felt an eagerness
for the new. Dani Babu was alone in the field
and appeared sterio-typed. To make more
attractive, Bioscopic pictures formed part of
plays for some time. Peoples' tastes also
became a bit deteriorated and the combined
performance of stage and film became the
peculiarity of the day.
About this time arose a new luminary on
the horizon, Babu Sishir Kumar Bhaduri,an
M. A. of the Calcutta University and a popular
professor of the Vidyasagar College had
already made a great mark in the role of
Chanakya in the University Institute where
the cream of society and best products of the
University used to take interest. The success
in the role of Chanakya spread his reputation
amongst the people, specially the student com-
munity, and when he joined the. professional
stage in 1921, his appearance created a great
sensation. Besides, the part of Alamgeer was
137
also rendered by him in a very artistic and
interesting way.
The year 1921 was the upheaval of the
national spirit in India and although dramas
like Sirajuddoula and Mirkassim, Palasheer
Pryaschitta or Eana Protap, Nanda Kumar
or Mewar Patan were sadly wanting, Babu
Nishikanta Basu Boy's "Bange Bargi" made
some though poor consolation. The drama was
acted well and Dani Babu was at his best.
The following was the cast (Feb. 10, 1922) :
Bhaskar Pandit Dani Babu, Mohan Lai Babu
Kshetro Mohan Mitra, Madhuri Sashi Mukhi,
Gouri Asharjainoyee, Alibardi Hiralal Chatterjee,
Seraj-^Ranee Sundari, Meerkhan Purba Ghose,
Upananda Jivon Pal, Chhidara Aheendra De.
Some of the words as "Sanhar, Sanhar"
(destruction) were culled after Mirkasim accord-
ing to Dani Babu's choice and he made a
powerful effect on the audience with his appear-
ance, voice and expressions. But this was the
last in Mr. Pandey's Monomohan and the next
pieces "Alexender" and "Lalitaditya" staged on
18bh August, 1923, in February 2, 1924 respec-
tively added nothing to Dani Babu's glory.
Although the dream-scene of the hero was
most artistically done by Dani Babu in the
latter drama, people became now restless for a
18
138
new set of players. The comparison was now
drawn by a section of journalists in a prejudiced
manner and Dani Babu began to lose in repu-
tation. Eight-minded journalists however
failed not to express gratification at the general
acting, and the Amrita Bazar Patrika thus
observes
"Kusum appeared to be a real Eanee. Batta
and Chameli give us much fine acting. Babu
Surendra Nath Ghose appeared in the title role
and did his best in a part which was Mark An-
tony and Macbeth all rolled into one. But
above all towered head and shoulders the
character of Bhupal Sen as rendered by Khetro
Mohon Mitter Setting and make-up good and
whole was completely a success."
Mr. Pandey now thought of closing the
theatre. He understood that the new tide that
was fast approaching would be too strong for
him with his old party to cope with. Besides he
had definite information that the theatre would
fall on the Central Avenue Extension that
was the prospective scheme of the Calcutta
Improvement Trust and thought it would be no
good to continue further. A life of rest would
also be necessary. He thus disabanded his
party and intended to lease it out to Mr.
Sisir Bhaduri who was then showing some
139
performances at the Alfred Stage. Dani
Babu's career was thus set back for a while.
Mr. Bhaduri staged Sita * on August 6,
1924, Pashani, Jana, Pundareek and some old
pieces and then removed to Cornwallis Theatre,
under the name "Natya Mandir" and opened
Bisharjan on June 26, 1926.
In 1927, The Art Theatre limited which
was showing performances at the stage of the
Star theatre extended their activities in Mono-
mohan Theatre also, taking lease of it. Mr.
Aparesh Chandra Mukherjee's Ramayan was
staged on July 1, 1927 and Mr. Monmotha Nath
Roy's Chand Saudagar on September 14, 1927,
Mr. Aheendra Choudhury taking the parts of
Dasharath and Chand Soudagar, Durgadas
Banerjee of Earn & Lakhindra and Susilabala as
Sita and Behula, Susila Sundari as Kaikeyi.
In 1928, Monomohan Theatre was leased to
Babus Anadi Bose of the Aurora Theatres (Film)
and Probodh Chandra Guha (late Secretary Art
Theatre Ltd.) who re-opened Monomohan
Theatre with Meera Bat by Monmotha Eoy, on
thef llth August 1928. Both Messrs. Bose and
Guha are practical men of business. They not
only engaged amongst others Babu Nirmalendu
Lahiri, Saraju Bala Prokasmoni and Subashini
* Description will be given elsewhere.
140
(songstress) but also promptly secured the servi-
ces of Dani Babu.as manager and Director. Our
readers need be reminded that Dani Babu
showed his performances marvellously in the
Art Theatre Limited from 1924, in the teeth
of great rivalry with the Natya Mandir Party
where in all instances with a co-operating direc-
torate he was maintaining his old reputation
remarkably.
Mirabai was followed by Sachindra Naih's
Rakta Kamal with Nirmalendu as Dada Maha-
soy and Saraju as Mamata and by Jaladhar's
Praner Dabi with Nirmal as Keshab, Eabi Roy
as Sasanka and Saraju as Achala,
Here at Monomohan Dani Babu had once
felt himself humiliated by his exit with the entry
of Shisir Kumar Bhaduri but now he found an
opportunity to tower his head over all in open
competition.
While at Monomohan he appeared as Shiva
in 'Dakshajajna' Bhaskar Pandit, Jogesh, Ghana-
kya, Shersha, Nagendra etc. and when the
rehearsal of "Pather Sheshe" a social tragedy
by Nishi Kanta Basu Boy was going on, Dani
Babu was requested to play the part of Jogesh
in Profulla with Shisir Bhaduri as Eamesh
at Natya Mandir. By that time Shisir Babu
had reached the zenith of his success, and
141
Dani Babu was fast failing in health. The
occasion was a solemn one ; it was to raise
money for the statue of Girish Chandra
Ghose and Dani Babu took all precau-
tions to keep his voice * in tact. The house
was full to its highest capacity with audience
eagerly expectant, but step by step Dani Babu
rose to such a climax that lie carried off the
palm of the day. The old again rose up and
won the laurels. This was on October 3, 1928.
Then came the performance of Pathersheshe
Dec 15, 1928 with Nirmolendu Lahiri,
another product of the New School and Saraju-
bala in the roles of Nalin and Parul. This pair
acted very well, true to the tragic vein, too
unbearable for many to witness and Dani Babu
too acted to such a finish that to see him in
that role next was a treat to every body. The
other parts t too were well done specially of
Sukbada and Anadi
Dani Babu and Shisir Babu also appeared toge-
ther in Shajahan and Profulla in 1929 in this
* It is said for three days he did not talk with any
bbdy.
t Jogesh Moni Ghosh, Sukboda Prokashmoni
Radharani Subashni, Anadi Satyen De, Lalita
Nirupama, Syama Kumar Mitra, Govind- Satis
Chatterjee.
142
very stage, On one occasion happened some
amusing conversations on the stage which
created great interest in the audience. All this
was before Bhaduri left for America. On the
previous day when Shajahan was being acted, in
Durbar scene of Act II, Mr. Bhaduri as Shaja-
ban suddenly appeared on the stage, though not
required by his cue and addressed Dani Babu
thus "Bachcha (son) you have withered
much," (Bachcha, bara roga hoe giechho). Every
body was astonished at this uncalled for inter-
vention of the dramatist by an actor.
On the next day Mr. Bhaduri as Eamesh
thus addressed to Bhajahari as represented by
Mr, Nirmalendu Lahiri
*'Bah Chhokra, mamar ta Khoye Besh
nadhoosh nadoosh chehara Korecho to" you
have become well-nourished living on mama's.
Mr. Lahiri kept silent, but was once roused
to say "Dutakai Mulluk chand hote parina,
Sisir Bhaduri paryanta hote pari.
Then when Mr, Bhaduri was counting coins
to give to Lahiri the latter said *'Ekta bhalo
mad, ei dhara du taka."
Bhaduri immediately interveing said
"Ghhokra, wine can not be had at Bs. 2/- now/'
143
Lahiri Ta Dada Mader Eatha tomi Jemdn-
ti Jano, * ar keo ta Janena.
Bhaduri was delaying to hand over the
money, but when he actually handed over thfc
coins and Bhajaharl was leaving the stage,
Bhaduri shouted " Chhokra, taka Koita kintu
Gera deona"
Nirmal (Bhajahari) we are not, dada, so
educated to do this.
The above conversation, laughable as it is;
created however a gulf between the two artists
of merit and we doubt if and when after that,
there was any reconciliation between them.
To come back to Monomohon's own perfor-
mance, Barada Das Gupta's Karmabeer with
Nirmalendu as Charak and Babi Boy as Abhi-
manyoo was staged on 30th April 1929 and
Samudra Gupta (Sudhir Raha) on October 25,
with Lahiri in the main role. Next on 25th
December 1929 Babu M'oni Lai Banerjee's
Jahangeer was staged with Dani Babu in the
main role and Sashimukhi as Noorjahan with
Nirmolendu Lahiri as Shajahan, Uurgadas
Banerjee as Mahabat Khan and Sarajubala as
Monija, Indubala as Hushiar and Ushabati
(Fatal) as Momtaz.
"Mahua" (Monmotho Koy's opera) was
* Mr. Bhaduri^s habits on the stage were really
unsteady at the time.
144
staged on the 31st December 1929 with
Nirmalendu Lahiri as Humra Sardar, Durgadas
Banerjee as Nader Chand, Prabhat Singh as
Sujan, Saraju as Mohua, Indubala as Eadhu,
and Moni Ghosh as Gobindolal,
On the Bathajatra day July 13, 1930 Gairik
Pataka ( Sachin Sen ) was successfully staged
with Nirmalendu Lahiri as Sivaji, Eadhikanund
Babu as Aurangzeb Susila Sundari as Jeezabai
and Saraju as Syamoli.
Rabindra Nath's Mukteer Upay was staged
in May 1930 with Eadhika Babu as Fakeer,
Nihar as Hansabati and Saraju as HaimabaJi.
In 1930 Gopikaramon Krishna an amusing
farce, was staged during Janmastomi and was
followed by Meghanathaa worthless book in
which Eadhikananda Babu took the part of
Girindramohan.
Manmatha Eoy's Karagar was the last piece
staged here on Dec. 24, 1930 with Dani Babu
as Basudev Nirmal Babu as Kangsha, Bhumen
Eoy as Kankan, Neehar as Chandana, Susila
Pundari as Debaki. Moni Ghosh as Narak and
Sefalika as Mondira,
After this the Manomohan Theatre was closed,
the party coming to Natya Niketan. The house
was then demolished and the readers will not
now be able to see any trace of it, the place
forming part the Chittaranjan Avenue.
CHAPTER VII
THE BENGAL-PAVILION
[ At 9f3 Beadon Street]
After the Bengal Theatre was closed on
April 24, 1901, with the death of Babn Behari
Lai Chatterjee, Babu Guruprosad Maitra with
the help of Babu Nilmadhab Ohakraborty of
City Theatre fame started the Aurora Theatre
here and staged "Dakshina 3 ' a drama by
Kshirode Prasad Vidyabinode on the 17th
August 1901, Next were revived Bankim
Chandra's 'Devi Chowdhurani* with Mr. Chakra-
barty in his favourite role of Bhabani Pathok
as also "Bellik Bazar/'
After Sadhana, Sarasundari, Pasusason and
one or two pieces of Atul Krishna Mitra were
staged, Mr. Chakravarty put two plays on
boards which were attended with great stfccess,
specially the second piece "Rezia" by Mano-
mohan Boy in which the character of the queen
was so marvellously done by Miss Tarasundari
that her name became practically synonymous
with the character she played. Indeed the
representation of the queen used to be so
19
146
masterly and artistic that in the opinion of a
large number of England-returned persons
including Messrs, C. B, Das (Deshbandhu) and
Bepin Chandra Pal, Tarasundari was in no way
inferior, if not superior to Sara Bernardt or the
Divine Sara,
The first piece "Kal Parinoy" by Eamlal
Banerjee was staged on March 15, 1902 with
Mr. Chakravarty as Jagadish, Preanath Ghosh
as Manindra, Akshoy Chakravarfcy as Sambhoo,
Harimati as Kishori and Bishad Kusum as
Kalee Jhee and Rezia followed it on 17th
May 1902 with Tarasundari, as we said before,
in the name role, Probadh Ghosh as Baktier,
Harimoti (Blackie) as Indira and Mr. Ardhendu
Mustafi as executioner.
Bankim Chandra's Radharani dramatised
by Atul Mitra was staged on August 23, 1902
and Manikarnikar Ghat, Beneras and the
Bathkhola at Mahesh were very vividly shown.
Tarasundari was in the role of Badharani, and
also as Dalai Balok iu Ekadas Brihaspati, and
Sohag in Paritosh (Ramlal Banerjee).
Then the lessee became Babu Giri Mohan
Mullick who opened iu this stage the Unique
Theatre with Mr, S. C. Chatterjee as Manager.
"Ratnamala" by Mr. Chatterjee was opened
on June 21, 1903 with Tarasundari as Mandar-
147
mala and Sushilabala as Ratnamala. After
staging "Swashan" or the 'Fall of Mewar' on
Sept. 16, 1903 Mr. Chatterjee with the help
and money of Ram Patra a . rice merchant left
Giri Mullick and joined the latter winning the
co-operation of the whole body of artists.
Babu Kshetro Mohan Mitra a budding artist
and well-known here-after as a man- possessed
of strong powers of organisation took up the
cause of Mr. Mullick, secured the co-operation of
Dani Babu and Chuni Babu and won back all
the artists over again. This party as re-organised
now staged Mr. D,L. Roy's Tarabai successfully
with the supporting cast on Nov. 14, 1903 :
Tarasundari Tara Bai, Dani Babu Prithwiraj,
Chuni Babu Surjatnal, Khetro Babu Joymal, Mr.
Palit Baimal, Montu Babu Kana Sanga, Kartic
Babu Sultan, Sudhirabala Sultana, Banu Babu
Probhu Rao, Prokasrnoni-- Tarnasha.
Prokasmoni rendered her part excellently
and Dani Babu too did very well. His acting
when he took s\veets mixed with poison given
by Probhu Rao was superb. Tarasundari also did
well, but Unique was not heard of after this;
The next few years of the Bengal Stage
were practically controlled by Chuni Babu,
though for a very short time only Amar Babu
was here with his Great National.
148
As we have seen, after some performances
ftt the Grand Theatre (Prithwiraj Ghooghoo,
Bapparao, Bengal-Partition) Chuni Babu came
to the National which had been opened with
Adrista of Ramlal Banerjee on December 2, in
1905. Mr, B. L. Datta was the Manager and
Chuni Babu was appointed as master on a
monthly salary of Rs. ISO/-, The most note-
worthy drama staged here was that of Banga
Vikram* showing the exploits of Kedar Roy.
This play staged on 14th July 1906, in as much
it was imbued with a spirit of nationalism, met
with an appreciation. It was just within a
month of Minerva's 'Mirkassim' and two weeks
before Star Theatre's "Palashir Prayaschitta."
Chuni Babu acted well and so did Chandi De
in the role of Chand Roy. Ranu Babu's part
as Srimanta was unapproachable. Tara Sundari
joined National from Minerva and from the
4th August 1906, began to appear as Anita
where as usual she was at her best. The
part of Sonainoni used to be acted by Promoda
of Rani Durgabati fame of the coming Kohinoqr.
Probodh Ghose's Isha Khan used also to be
very good.
After Tarasundari came, National Theatre
staged also Rezia and Sansar with herself s
Eazia and Bama, but she left in July 1907 for
the Kohinoor Theatre. There was some
misupderstanding between her and the Manager
Behari Dutta and- a case was instituted by
Tara Sundari under Section 604, I P.O. (inten-
tional insult), but happily the case ended
in compromise through the efforts of Q-irish
Chandra.
The other peices in 1907 deserve not much
mention except Chhatrapati Sivaji which was
staged on the 21st September.
In 1908, other pieces need no mention but
in "Kalyani" by Haripada Chatterjee, Chuni
Babu as Sontal Sirdar was at his best again.
This is another piece, Kapaleek being another,
whore Chuni Babu stood gupreme.
Towards the end of 1908 Tincourie joined
the National and for the first time appeared as
Vaishnabi in Satnam on the 1st May 1909>
which was originally meant for her, as with
her appearance and voice she admirably suited
the part. If Satnam could be staged with
Girish as Fakir Earn, Mr. Mustafi as Charah
Das, Amarendra as Eanendra, Kusum Kumari
as Gulshana, Dani Babu as Aurangzeb and
Tincorie as Yaishnabi, Bengali audience would
have enjoyed a rare treat. After the suspension
of Satnam in the Classic, Chuni Balm had the
160
drama performed under the name "Bharat
Gourab" Glory of India, here.
In 1910. owing to some difference with
Manager B. L. Dutta, Chuni Babu, Pandit
Abinash and Sorojini left the National. And
soon after, the theatre was closed.
'We have said how Amarendra was the
lessee in 1911 here and in his "Great National"
new pieces Jivane Morane, Bajirao were
staged.
Amarendra soon after left it for the Star,
and Chuni Babu came here now as the lessee.
The last Great National showed performances
here was on the 6th November 1911 when
Balidan and Bilwa Mangal were staged with
Amarendra in the leading roles.
After Chuni Babu came, his part of
Magistrate in Rajlakshmi, staged on the 9th
December 1911 was again a success, although
the sales were not satisfactory. The part
Nikhilendra Babu took met with apprecia-
tion when at the death seene he regained
consciousness and memory.
The other characters were :
Pandit Abinash Gopal, Khagendra Nath Sarkar
Debkantha, Kali Charan Banerjee Govinda, Amrita-
lal Dutfc Dukhiram, Sorojini Dasi Matangini,
Lilabati Rajlaxmi, Hari Priya Lilabati,
151
Jaydeb (staged on Sept 14, 1912) was the
next attraction. Although the prices of
admission were reduced to half and Chuni Babu's
Theatre was not very well-spoken of, we may*
however, speak with confidence that as Jaydeb
Chuni Babu generated a feeling of devotion in
the part, rare in others, and the drama as a
whole was very well acted, The brilliant cast
was follows :
Jaydeb Chuni Babu, Niranjan Handu Babu,
Parashar Pandit Abinash, Baja Nikhil Deb, Eaj
Guru Gostha Chakravarfcy, Krishna Lilabati,
Digambar Nripen Bose, Bemola Sorojini, Padma
Harimati, Aruna Kusumkumari.
All the parts seemed to us to have been
well rendered. This was followed by Bheesma
on April 30, 1913 and in September Vikharini
a dramatic piece by Amala Devi (Desha Bandhu
C. B, Bass's sister) was acted, Purna Ghosh
taking the role of Magistrate, Harimati as
Vikharini and Handu Babu as Madhab.
"Nabab-nandini" and Brahmatej were not
received well.
Chuni Bitbu was loved by his compeers. In
a performance of "Prof ul la" (1914) for the
benefit of Chuni Babu, Babu Amrita Bose
appeared as Eamesh, Dani Babu Jogesh and
Amar Babu as Bhajahari,
Bnt With all, Chuni Babu could ndt continue
arid at last Grand National was stopped for
good and Chuni Babu now accepted service
under Amar Babu at the Star Theatre.
In 1915 Thespian Temple at the Bengal
Stage was started by Babu Kshetro Mitra who
staged Noormahal (Harisadhan Mukherjee) on
August 7, 1915. Tincorie played the part of
Jodhabai and Kshetro Babu that of Selim,
Panna in that of Noormahal, and Bhushan
Kumari as Rukma. After reviving Jana, 'Raja
Rani.' They also staged Rama (East Lynle)
and Harnir shortly after, with Khetro Babu
as Jal Mehta and Jogesh Choudhury * as
Senapati. Tincorie did not stay long, and
was followed by Panna after which the
theatre began to close down. Kshetro
Babu's lease was for a very short time, but*
even to his last day he was not idle.
Presidency Theatre was here for a short
time after that. The Bengal Theatre stage was
built in 1873, but it is not in existence now. The
Beadon Street Post office is there.
* This was the beginning of Jogesh Babu's career.
CHAPTER VIII
STAR THEATRE.
After Girish Chandra left the Star Theatre,
(vide page 147 Vol. Ill) the note-worthy piece
acted there was Pandit Nritya Gopal Kabiraje's
Harish Chandra on September 10, 1898 (re-cast
by Amrita Lai Bose). Babu Amrita Mitra and
Tara Sundari as Harish Chandra and Saibya
infused such extreme pathos into the performance
that the play with the pair and Mr. Bose as
Viswamitra, Akshoy Koef as Vidushaka, Upendra
Mitra as Batook, Ghanasyam De and Jivan Sen
as Parahu and Jhiman was a highly successful
play at the Star.
On the 23rd September 1899, Amrita Bose's
Sabash Athash or "Bravo Twenty eight" was
staged, eulogising the twenty eight councillors
of the Calcutta Corpora/tton who had tesigned
their seats in protest of the Calcutta Municipal
Bill of 1899 called the Mackenzie Bill that
proposed to confer all the powers of the Cor-
poration upon 12 councillors (then called
commissioners) consisting of four elected
Indians, four nominated members 'and four
Europeans.
20
154
The next piece was a racy farce named
"Viraha" by D. L. Boy staged on November 4,
1899. In that play Kashi Babu as Govinda was
highly entertaining for his comic songs. But
the Star was fading day by day and the financial
condition became anything but satisfactory.
At such a time Pandit Khirode Prosad Bidya-
binode of Alibaba fame and afterwards a famous
dramatist was introduced to the Proprietors by
Babu Akshoy Kali Koer. A few pieces of
Khirode Prosad were put on the stage, Saptama
Pirotima or Avon's All for Love on the 19th
July, Sabitri on the 4th October and Bedoura
(an adaptation from Arabian Night's) on the
25th December 1902, These did not prove suc-
cessful but the historical drama under the name
of Protapaditya suited the time. Babu
Amrita Lai Mitra suggested some novel
improvements 'for example Bijoya's character
^s not in the book but Khirode Babu was
ftsked to revise the drama and insert a character
Sp that the patron Goddess of Jessore (Josore-
swari) might be represented not only in statue
tut also as one moving in flesh and blood.
Bejoya thus came into being $nd this is the
most central and attractive character in the
plot. Her songs, her exhortations to Protap
a,nd Sankftr and the timely hymn which she
asked Chandibar the priest to sing "Gao
155
Chandibar Gao" acted as an inspiration to the
audience.
Pratapaditya was staged on August 16, 1903
and the Star now began to draw over-crowded
houses every evening and many had to return
disappointed for want of accommodation, *
It had a continued run for 25 nights and the
play too was very successful. About 200 chairs
had to he provided each night and the cast was
distributed as follows :
Pratapaditya Amrita Lai Miktra, Bikramaditya and
Rodda Ardhenda Sarkar Mustafi, Akbar Upendtft
Mitra, Sankar Mahendra Choudhuri, Govinda Das~
Kasi Nath Chatterjoe, Basanfca Roy Akshoy Kali
Koer, Chaudi Bar Nageudra Nafeh Mukherjee, Selim
-Nani Lai Dutta, Bijoya Nari Sundari, Kalyani
Basanta Kumari, Chhoto Rani Mrinalini, Protap's
wife Saraju Bala, Bhabananda Hira Lai Dafcta.
Srijukta Kshetramani Devi had also a part
which she did to a finish,
As Sitaram, Kedar Boy and Protap are the
real heroes of Bengal, so the effect on the
Bengali audience was marvellous. Besides the
* The author had an experience of this. 'Coming
from Mofusil he wanted on a Saturday evening to
purchase a ticket for as 8, but was told that even four
rupee seats were sold up.
156
times were also exciting. Anglo-Indian papers,
however, became vocal.
The Englishman wanted the Government
to take special measures as the ideas the drama
intended to propagate were dangerous. The
Star, however, hit upon a novel idea of pointing
out to the people, when Protap was taken under
chains, the image of the Goddess of England
and that our salvation lies there. This seemed
to have pacified the situation. The acting-
of the drama on the whole was so excellent that
Amarendra Nath in his attempt to compete with
Star put on its board on the 29th August 1903
Pratapaditya dramatised by himself from
Haran Eakshit's Banger Sesh Bir ; but his
attempt too, like Sitaram, proved abortive.
After tottering for five years the Star once
again became very popular now. The mofussil
students after the F, A. Examination was over,
requested the Star company to show them a
performance of Chandra Sekhar which they
gladly did. Enthusiasm was really great.
Toward the middle of 1904, Dani Babu
joined Star from Classic and appeared as Balai
Sardar in Kshirode Prosad's Banjabati * staged
on September 30, 1904. He was well matched
The story was taken from Dharmamongal by
Ghonoram.
157
with Dalua Sarhar in whose role his master
(Guru) Amrita Mitter appeared. He also
appeared in the role of Eodda, when Mr.
Mustafi left for the Minerva ; but was no match
for his predecessor whose parting word "Sorry,
Raja" still resounds in the ears of those who
rv *<.
once heard him,
The well-known actress Khetra Moni Devi
appeared in a minor role as an old Dom woman
and used to speak in the Dom dialect. This
petty part was the most enjoyable one espe-
cially when she used to say "Death by tying a
rope round the neck ? Let me go and see it.
For long have I not witnessed such a pleasant
spectacle" ! Babu Akshoy Kali Koer took the
part of Eajnarain Singh.
Star gave the X'mas present of "Bahaba
Bateek" by Amirta Lai Bose.
Khirode Prasad produced another drama
Narayani on the 15th April 1904. The famous
dramatist Dwijendra Lai Boy's Ranapratap
(22nd July. 1905), became now the main attrac-
tion and audience used to be very large. The
play was very successful with Amirta Mitter as
Fratap and Amirta Bose as Sakta. Both the
parts were very well rendered. It acted like
fire with the .youth at that time of the infancy
of nationalism*
158
The story was related as to how Padmini
preferred to burn herself to death and thereby
save Chitore from ruin to offering herself to
Alauddin's lust* The play staged on the 23rd
December 1905 was very much liked and the
east was distributed as follows :
Padmini Basanta Eumari, Nashibon Nari
Suudari, Do father Akshoy Babu, Gora Kashinath
Chatterjee, Arun Shing's wife Saraju, Laksman
Singh Atnirta Mittra, Bhim Shingh Upendra Mitra.
This was followed by a new swadeshi sketch
in December 1905 "Sabash Bangali" from the
pen of Babu Arorita Lai Bose. The opening
song "Amara Nehat Gareeb, Anira Nehat
Chhota, Sat Koti Bangali Tobu jege Otho" was
greatly appreciated by all. The farce spoke of
youngmen of the university carrying in bundles
of country-made-clothes to people and of women
spinning yarns at the Charkas. Star put on
its boards another piece of Khirode Prosad
Ulupi describing the battle between Arjuna and
bis son Babhrubahana. The> next piece Palashir
PwyaschittatollowedL Girish Chandra's Mirkasim
a* Minerva. It was acted here from the 4th of
Aagradt, 1906, the 8th night of Mirkasim and
thought no m&tch for the master-piede of
Oirieh, was on the whole a successful per-
f<jriaance. The caet was as follows :
Mirzafar Upendra Mibtra, Mirkaaita AmritalaT
169
Mitra, Mohonlal Aparesh Chandra Mukherjee, Raja
Eamaran Mohendra Master, Raja Ballav Nonilal
Dutfe, Seraj's Begum Basanta Kumari,
Mirkashim was the last performance of
Amrita Lai Mitter in a new drama and inspite
of his ill health he acquitted himself wonder*
fully, Aparesh Babu who appeared as Mphan
Lall's role wrote of him hereafter
"The lion was worn out with age and dis-
eased. Even in that condition such flashes of
lightening were now and then omitted by him
at the Palasheer Prayaschitta that used to send
a thrill to the hearts of the audience/ 5 Play was
successful but there was not much out-turn of
money.
Now came a change in the Star Theatre.
Amarendra Nath whose Classic Theatre was bro-
ken up with his insolvency, returned with re-
newed health and vigour and on arrival from
Bombay, accepted the post of the Assistant
Manager of the Star Theatre that was offered to
him and appeared for the first time as Pratap,
Babu Amrita Lall Mitter taking the part of
Chandra Sekhar and Amrita Babu (Bose) taking
that of Laurence Foster, On the 18th May 1907
Mr. Dutt made his first bow to the audience.
Kusum Kumari also accompanied Amar Babu
160
and appeared in the roles of Sarala and Saibalini,
with Amrita Bose as Nil Kamal.
It was at this time Girish Chandra, having
recovered from effects of long illness, announced
appearance on the Minerva Stage in his inimit-
able role of Jogesh on Sunday the 2nd June
1907. For the last twelve years since 1895,
Star ceased putting the play on its boards
but now with the infusion of new strength Babu
Amrita Lall Mitra stood for the second and
last time in competition with his Guru (Master)
Girish Chandra, It will be interesting to let
our readers know the comparative casts which
are given as follows :
Star Minerva
Jogesh A. L. Hitter G. G. Ghose
Bamesh A. L. Bose A. Mustafi
Suresh Kashi Chatterji Dani Babu
Bhajahari Amarendra Dutt Akshoy Chakravorty
Kangali Hiralal Dutt Nripen Bose.
Madan Dada Upendra Mitra Nilmadhab Babu
Pitambar Mohendra Master
Jnanadasundari Basanta Kumari Tincowrie
Profulla Kusumkumari Susila Bala
Jogamoni Jagat Tarini.
Bhajahari was unique at the Star and
Akshoy Chakravarty, another comedian of the
flay was no match for him. Eamesh too
161
would befit Mr. Bose better than his colleague
Mustafi Saheb but Tincowrie, Jagattarini, Dani
Babu, Nripen Bos3 far surpassed their rivals in
Star. Girish was Jogesh personified and requires
no further comment, and with him after all a
real Profulla was found in Sushila.
1 The competition lasted two nights only, but
though Star drew crowds to see the combination
of Amrita and Amar, Minerva positively
carried off the palm this time as well.
Amarendra Nath stayed here for about three
months only and left towards the middle of July
1907 as assistant Manager for the Minerva,
Subsequently he became Manager on the llth
August, 1907 and appeared as Sivaji.
About the time when Chhatrapati was scor-
ing great success at Minerva and Kohinoor,
Star revived its temporary depression caused by
Amrendra's resignation and by the protracted
illness of Babu Amrita Lall Mitra, by staging a
sensational historical piece, Maharaja . Wanda
Kumar. Maharaja Nanda Kumar is a favourate
name with the people of Bengal who, from
school days have read about the quarrel between
Nando Kumar and the then Governor General
Warren Hastings who as the popular belief
goes, got ttte friend Sir Elija Impey the Chief
21
162
Justice of Bengal to pass unjustly the sentence
of death on the Maharaja. It is a subject of
national interest which the eloquence of the
great Edmund Burke had made famous through-
out the world and over which the eminent
jurists James Stephen and Judge Beveriege,*
employed much ink and wit to review the subject
in big volumes. It was a duel between the
Maharaja and Warren Hastings, and every
student must be interested in thej statement in
the Hicky's Bengal Gazette which runs thus :
"Olive was made a peer in England, though he
committed in Bengal the samo crime for which
we hanged Maharaja Nunda Coomar".
It was at this time (ond of 1906) Barrister
Mr. P. Mitter the well-known National leader
published the verbatim report of the trial of
Maharaja Nanda Kumar with an introduction,
and the drama staged so soon after this and
specially during those stirring times of the
Partition of Bengal became very popular.
This is no place to relate the history of the
trial, the justness or otherwise of the charges
or of authenticity of the evidence, and whatever
the verdiet of the jury was, History
however has given one verdict only in the
* We are told Mr. Justice Ameer Ali is pursuing
the most learned research over "Nanda Kumar."
163
condemnation of the men who engineered thd
trial and that the "Execution of Nanda Coomer
was a judicial murder". *
Ere this we had the whole history depicted
in the well known book ''Maharaja Nanda
Kumar" of Babu Chandi Charan Sen, and the
drams, now acted was a matter of great interest,
The heroic resignation of the Maharaja was
well mirrored in, and Babu Nagendra Nath
Mukherjee a young amateur who had acted
successfully the role of Chandibar, in Protapa-
ditya, showed fully the spirit of tho hero, and at
once secured the plaudits of the public in this
role. The Bengali says "His Statesman-like
qualities, his heroic stand against the clique
of Hastings and Barwell and the softer qualities
of his heart were well depicted by Nagendra
Babu, who though in this book alone, filled up
tho void created by the stubborn illness of
Amrita Lall." Easting's movements, deport-
ment of the Governor General and his joy in
* The trial of Nanda Coomer commencing on the
8th June 1775, was before the Chief Justice and four
other Justices aided by 12 European Jurors with Mr.
John Robinson as Foreman. On the 24th July after
the Chief Justice delivered his charge, the fury retired
for an hour and returned a verdict of guilty, and the
beloved Maharaja was hanged on 5th Aug. 1775.
164
success were masterfully shown by Akshoy Kali
Koer, Bapudeb Sastri the spiritual Guru of
Nanda Kumar too was ably represented by Babu
Mahendra Choudhury. These main characters
were fully supported by Tarasundari in the role
of Eadhika Shastri's second daughter who
was the leader of a dacoits' gang and did full
justice to her part, but when she dispersed them,
her chief lieutenant parted in surprise "Betika
Daine peyeche" a soreceress has overtaken the
mother and this part was played by Babu
Noni Lall Dutt. The part of Promoda was
played by Miss Basanta Kumari and that of
Eadhacharan the son-in-law of Nanda Kumar
by Babu Kunjalal Ghakravarty who was well
sustained by Babu Hiralal Dutt in the part of
the villain Kamaluddin,
Nanda Kumar, however was the last glare of
light emitted by a burnt-up candle. The Star
began to decline day by day and the climax of
misfortune overtook it at last, when on the Dol-
festival day in March 1908, Amrit Lall Mitra
died after a protracted illness, This calamity so
much overwhelmed the Star, it remained
practically closed for sometime. Over a month,
however, some changes occured in the dramatic
world. Girish Chandra with his troupe re-
joined Minerva, taking leave of Kohinoor and
166
Amarendra with Kusum Eumari came back to
the Star again as Assistant Manager. They
appeared as Pratap and Saibalini with Mr. Amrita
Bose and Nari Sundari as Chandra Sekhar and
Dalani on the 25th April 1908. Thus did Star
express :
"Chastened by chastisement from Heaven,
wo have wiped out tears, shaken off our lethargy
and stand ready for action,"
On June 20, 1908, Sourendra Mukherjee's Jat
Kinchit was staged with Arnarendra as Sukumar.
Next were staged Kamini Kanchan on 22nd
August 1908 and Jivan Sandhya on 21-11-1908
rendered by Babu Amarendra from Mr. B. C.
Dutt's novel into drama. In the second he
appeared as Tejsingh with Kusurn Kumari
as Dalia.
Amarendranath next loft the Star as he
took lease of the Bengal Stage, starting the
Great National Theatre.
After Amarendra left, Star Theatre-
proprietors decided not to run any theatre.
Nageswara and Sultana both of Vidyavinode
were their last performance on 30th April 1911,
Amarendra Nath now came back and took
lease of the Star Theatre at 25 p. c. of the gross
sales. He brought his own theatrical party
with him from the Great National.
166
The Star Theatre-proprietors were also very
much gratified to see their theatre placed in
the hands of Amarendra as he was the most
lively and central figure then living amongst
the leaders of the Stage. On the first night
Nov. 11, 1911 when Amarendra first appeared
as the lessee, Babu Amrita Bose appeared before
foot-lights and expressed sorrowfully :
u The luminaries of the Bengal Stage have
all disappeared one by one. Only Girish Babu
and myself are still in life, Girish Babu is
lying in bed, diseases overpowering him. I too am
old, There is no second man now who can
take the helm of this theatre. Amarendranath
is very expert in conducting theatres ; besides
he is high-minded and born of a very re-
spectable family".
After having staged Balidan and Vilwaman-
gal on 6th November at Great National,
Amarendranath's party first appeared here on
the llth November 1911 in Bhupen. Banerjee's
"Satsanga" #. Jivon Sangram t of Naren
* Satsanga :
Probodh Amarendra, Sukumar Kunja Chakra-
barty, Sadananda Kartic Dey, Patit paban Ashay
Chakrabarty, Hemangini Suahilabala,
i :-.+ Jiban Sangram s
Mirjan Amarendra, AH Ibrahim Kunja Babu,
Kdiiatnan Akshay Babu, Jinnat Basanta, Mamtaz
Susila, Minar Rani, Samsel Nihar Kohinoorbala.
167
Sarkar was staged on 20th December. Between
the two, Mr. D. L. Boy's amusing farce "Hart
Nath's journey to his father-in law's house"
delighted the audience very much. Enjoyment
was pure and there was no vulgarity in it.
Amrita Babu was, however, given the
honour as dramatic Director and on which-evor
night he would appear, an honorarium of
R. 25/- was to be paid to him.
The most note-worthy piece staged in the
Star after Amar Babu took charge of it was
Khas Dakhal by Amrita Babu. It is the best
and most improved form of all the farces
hitherto composed by him put together. Yet
it was not a farce and may also be called a good
drama.
It is a comedy and the amusement was
chaste and highly instructive. Thus it can be
distinguished from Chira Kumar Sabha which
too is chaste and entertaining but has little of
instruction in it like Khasdakhal every word of
which misses fire. It was a very happy day
for the Bengali stage that the first drama from
the pen of Amrita Lall after Girish Chandra's
death was as good and chaste as would have
been desired by his Gurudeb. The performance
was highly successful and Amrita Babu too was
168
at his best. His rendering of the part of
Netai was superb. "Is the" became hereafter
a common saying. Along with him may be
mentioned the part of Giribala as rendered by
Sushilabala. Her "Bhatar Keman Misti" was
a very enjoyable song which has increased her
celebrity all the more,
Amar Babu f s part of Mohit was also very
well rendered. So did Basanta as Mokshada
and Kunja Babu as Thakurda. Basanta's "What,
My temperature is 99 ?" became also a favourite
expression with audience. It puts a sling on
the so called advanced people of South
Calcutta. Other artists also did well, the re-
maining cast being as follows :
Maitee Kashi Nath Chatterjee, Suresh Kshetra
Mohan Mitra, Loken- Gopal Das Bhattacharjee,
Ratnesh Hiralal Dutta, Sarada Sashi Bhusan Bose
(Amrita Babu's son), Ananda Kabiraj Radhakishore
Kar, Dr. Banerjee Qhanashyam Biswas, Dr, Mullick
Jitendra Nath Ghose, Muchiram and Gunadhar
Ghosh Dhirendra Mukherjee, Kabiraj and Dr.
Pakrashi, and Kali Kartic De, Tapasiwiram Bishnoo
Charan De Bati Rani Sundari, Bidhoo Mrinalini,
Albadi Kumudini, Labonya Kohinoorbala,
Mahalakahrni Pannarani, Bibhash Hemanta
Kumtri, Mrinal Nalini Bala, Rabiraj Upen Mitra.
169
The performance was highly successful and
was repeated for weeks. We need not dilate
on the performance too much and shall quote
only the observations of the Amrita Bazar
Patrika of 21st August 1912.
" It will be simply unnecessary on our
part to pass any remark at present on "Kbas
Dakhal" which has been drawing bumper house
though staged week after week for the last four
months on every occasion."
Amarendra Nath revived Chandra Sekhar ^
which had been proscribed in 1911 and put it
on boards on the 10th and 14th August 1912
himself taking the roles of Protap and Laurance
Foster with Amrita Bose as Chandra Sekhar.
The next piece was Paraparey by Mr. D. L.
Boy staged on August 17, 1912. Here too
Amarendra Nath as Bisweshwar, Susilafcs Santa
and Basanta as Sarajoo were superb.
The cast was as follows :
Dayal Gopal Das Bhattacharjee, Bhabani Pro-
sad Kashi Nath Chatterjee, Parbati Upendra Nath
Mitra, Mahirn Kunja Chakravarty, Kali Charan
Manomohan Goswami, Paresh -Kartic De, Charu
Akshoy Chakravarty, Ostadji -Lakshi Kanta Mukerji.
* Proscribed along with Serajoddoula etc.
22
170
Dwijendra Lali's sarcastic parody Ananda
Vidya was staged on the 16th November, 1912
but as it tended to cast reflection ou the great
Eabindra Nath, the audience did not receive it
in good sport. Performance necessarily had to
be stopped, the audience shouting 'Down with
the performance'. It is likely that the result of
this farce might have given Dwijendra Lai a
great shock.
In 1913 Manornohan Goswami's Dharma
Biplab (29th March) with Amarendra as
Kalachand, Narisundari as Durgabati, Basanta
Dulari and Susilabala as Surama needs little
mention. Ainarendra's farce "Kisrniss" * (3rd
May, 1913) was a very amusing one Lovechand
waff superb.
In 1913 Tincowrio Dasi joined the Star and
appeared as Jana (16th August) with Amarendra
as Prabeer and also as Sree (on 30th Aug.) in
Sitaram with Amarendra as Sitaram, Khetra
Babu as Gangaram,Susila as Joyanti and Kusum
as Nanda. She was here only about a month.
* School Superintendent A. N. Dutt, Lovechand
(youngman) Susilabala, Bilashbati Nari Suiulari,
Eismiss Basanta Kuraari, Lady Superintendent
Panna Rani.
171
On December 20, 1913 Joy Pataka and 17th
January, 1914 Mayapuri of Kam Lai as also
and Amarendra's piece on 30th May "Bara
Bhalabashi" need no mention, but on the 16th
August 1914 Ahalyabai by Moni Lall Bando-
padhaya was staged with following :
Malhar Rao Amarendra, Janhuji Hari Bhusan,
Mala Rao Nripendra Bose, Govinda Pantha Kunja
Chakravarty, Sorn Nath Manmotho Nath Pal,
Lakhi Kanta Hira Lall Datta, Nandoji Akshoy
Kuinar Chakravarty, Mundo Kao Dhirendra Muker-
jee, Tukaji Gopla Das Bhattacharjee, Madhob Rao
Surendra Nath Ghose, Nizuni AtiiulraBhattacharjeo,
Gangadhar Haripada Sarkar, Ahalyabai Kusum
Kumari, Gangabai Nari Sundari, Tulsi -Busanta
Kurnari, Narayani Rani Sundari, Rukinini Punto
Rani.
'Malhar Rao' was rendered very well. It was
at this time the Howitt Phillip Company was
showing some Performances at the Grand Opera
House, Mr, Howitt taking the leading parts.
Mr. Ho wit co-operated with Arnarendra Nath
in his benifit performance held on September 11,
1914. Chuni Babu too with Grand National
joined him,
31st October Akalanka Shasi (rendered from
Eabindro Nath's story Didi) was staged with
Amarendra as Joy Gopal Dutt.
172
On the 5th December 1914, Kshatrabeer by
Bhupendra Nath was staged by Amarendra
with Amrita Bose as Dhritarastra and himself
as Probir, Handu Babu as Kama and Akhoy
Chakravarty as Sakuni.
On the 26th December, Amarendra's
"Abhinetrir rupa r ' was staged with himself as
Nalinii Amrita Lai Bose as Anangamohan,
Kusum Kumari as Chandra, Basanta Kumari
as Nirupama, Mr, Palit as Bemolandu and
Susilabala as Durga.
The last-named star, Sushila the nightangle
of the Bengali Stage and the most talented and
powerful actress fell ill and in the above role
her appearance on January 2, 1915 was the
last. Bengal Stage lost a great star by her
death. Scarcely did an actress on the stage
possess her qualities all combined together.
Premer Zeplin and Belwari were worthless
pieces. "Sign of the Cross" was acted well
(February 27, 1915) and Amarendra Nath as
Marcus Superbus did very well. 'Sign of The
Cross* was a dignified performance and the
conceptions of parts were correct. Mr. Dutt
and Kusum Kumari as Marcus and Mercia
rendered their parts admirably, and the re-
maining cast was also brilliant
173
Nero -Kunja Ghakravarty, Tijlinas Handu IBabu,
Phabius Hira Lall Dufct, Licivius Probodh Bose,
Glabrio Gopal Das Babu, Servillas Karfcic De, Titus
Lakhikanta Mukerjee, Berinis Basanta.
Madhob Rao Peswa * was staged on 17th
Apil 1915 with Kunja Babu as Madhab Kao
and Kusum Kumari as Ramabai.
Somtime Amarendra was Narayan Kao.
Kusum's part was well rendered. He also
appeared as Aurangzeb in 'Shajahan.'
In 1915, Monomohon Theatre was started at
Kohinoor Stage, and Upendra Mitra became
lessee of the Minerva Theatre. Thespian
Temple was started by Kshetro Mohan Mitra.
Grand National however was stopped and
Chuni Lai Deb joined the Star Theatre.
Amarendra Nath was keeping indifferent
health and appeared as Sontal Sardar on 17th
July in "Kalyani", and as Raja Chandra
Dhwaja in the drama of the name by Jagat
Chandra Sen on 21st August 1915 with Kusum
as Manimala. The drama was instructive but
* Narain Kao Dhiren Babu, Kughunath Rao
Handu Babu, Apaji Rao Nripendra Babu, Sakhi-
ram Gopal Babu, Golam Kader Hira Lai Babu,
Anandibai Basanta, Johedi Charubala,
174
had no stage-effect. Bratodjapona was staged on
September 18,
Amar Babu also appeared as Sanatan in
Ratnamonjuri on October 9, 1915, with Kasi
Babu as Jagannath, Handu Babu Dhanapati,
Akshoy Chakrvarty Sibram, Nripendra Bose
as Sadananda, Kusum as Eatnamonjuri.
"Saudagar" the Bengali rendering from
Shakespeare's Merchant of Venice was staged
on the 4th December 1915 with Amarendra
Nath in the role of Kulirok (Shylock). This
part was acted successfully by Maclean, Kean,
Iriving in England and Amarendra Nath too
gave incontrovertible proofs of his histrionic
talents of a high order in the representation of
this part, the dress, postures and movements
all befitting the character of Shylock. But
this was the last and the tragic night appeared
very soon.
On the llth December 1915, Saudagar was
annoimced with his name to play in the role of
Kuliroka, but he vomitted blood and fever ran
high. It was not possible to act the part, and
Babu Kunja Lall Ghrkravarty appeared for him.
The audience however, was so much excited
that Amarendra Nath had to leave his bed and
appear before the audienoe and express inability.
175
He, however, begged of them to allow him to
appear in the first Act only and the sympathetic
audience was fully satisfied. Next day, too, he
appeared as Aurangzeb, but owing to the relapse
could not proceed after the second Act. This
was the last. The great actor, manager and
organiser, one of the most popular figures of the
Bengali Stage could not come round but began
to sink and on the 6th January 1916, Amarendra
Nath breathed his last.
Amarendra Nath's career on here was finished
and with his death his party too was disbanded.
After the death of Amarendranath, Star Theatre-
proprietors conducted the Theatre for about a
year and then Ananga Haldar took lease for
sometime. But nothing could be done. During
these two years the following dramas wore
staged at the Star Theatre :
1916 8th April Hemendra Lai ( Bhupen )-*
Hemendralai Kunja Chakravarby.
3rd May Ballal Sen (Jogindra Bosei.
4 24th June -Jacjo Bharata,
9bh September Baranoshi (Moni Banerjee^
4 23rd December Karmafal (Mono Goswanu)
| Deven Author, Sushorna Kusuni and
Bidhubhutttn Kshutro Babu.J
1917 Devabala ( Jogendra tfose ), with Kuaum
Kurnari as Debabala. and Ascharja as Sannyasini.
176
23rd September Buper Nesha.
191812 January Bano Bheri (Dasharathi).
19th January Muchiram Goor (Bankim
Cbatterjee.) Muchiram Kusum Kumari.
In 1918 Giri Mohan Mullick became lessee
and Birajbou of Babu Sarat Chatterjee drama-
tised by Bhupendra Banerjee was staged with
the following cast :
Jadu Amrita Bose, Nilamber Mr. Palit,
Pitamber Kshetro Babu, Biraj -Kusum kumari,
Sundari Basanta.
Biraj Bou commanded a very good sale.
Palit used to acquit himself well and after him
Monomohan Babu used to appear and some-
time Lakshi Babu also used to appear.
In the beginning of the next year Aparesh
Babu became the manger of the Theatre under
Giri Babu as lessee. Babu Probodh Chandra
Guha was with him to assist in the manage-
ment. The first drama staged on 8th March 1919
was Othello, rendered into Bengali from Shakes-
peare by the veteran litterateur Babu Devandra
Nath Bose. The dramatisation was very good
and the cast was as follows :
Othello Palit, lago -Aparesh Babu, Cassio
Probodh Bose, Desdemona Tara Sundari, Nerissa
Neroda Sundari,
177
The sales in the first night were" good, but
fell down from the second. None of the parti
except that of Tarasundari was done to thb
spirit of the dramatist.
On the 30th March, Nirmal Sib Banerjee's
Mukhermata was staged, and Kinnari was then
put on boards with Tarasundari as Utpal,
Basanta Eumari as Makari and Neroda Sundari
as Kinnari (original). As soon as Upendra
Babu of Minerva came to know this, he imme-
diately prayed for injunction. After some
evidence, the High Court granted the injunction
as prayed for under the Copy Bight Act.
Aparesh Babu then wrote "Urbashi" in com-
petition with Kinnari but this too inspite of
the good acting of Tara as Basantaka did not
prove better. The unsuccessful mounting of
Othello and the subsequent insignificant pieces
told upon the financial condition of the lessee
and "Dumukha Sap" a farce by Aparesh Babu
refers to the calumnies of persons in reference
to the manager's activities.
Having suffered losses, Babu Giri Mohon
Mullick gave up the lease. *
* Bhupendra Banerjec's Baibaheek was staged on
December 24, 1919.
23
178
In 1920, Aparesh Chandra himself became
the lessee with the help of Tara Sundari who
not only contributed a large amount to the
reconstruction of the stage, but took much pains
in coaching the female parts.
Rdkheebandhan was staged on June 5, 1920
with Palit as Chandrabat and Tarasundari as
Dhara. This was followed by Uebendra Nath
.Bose's Kuhaki (June 19 1920), Aparesh Chandra's
Chhinnahar on June 21, with Tara as Lila
was partly successful. All these pieces are not
much worth-mentioning but Ajodhyarbegum
staged on December 3, 1921 was attractive. The
times were propitious for reception of a
National Hero and Chuni Babu as Mirkashim
did well. Aparesh Babu (the author) was in
the role of Hafezar Rahaman, Tarasundari of
Begum, Krishna Bhamini of Chhaya and
Niharbala of Jinnat. The last two actresses
made their mark here-after. Krishnabhamini's
part was trained by the leading actress Tara-
sundari herself specially at her house as she
wanted this new actress gain the reputation she
deserved, due to her talents. But the sales were
not up to mark.
The following pieces though done well in
1922 did not create much enthusiasm :
179
July 1 Nababi Amal (Nirrual Shib)
Bamprasad Purna Ghosh, Khatija -Tara, Hossen
Handu Babu, Raghab Chuni Babu, Chininoyee
Krishnabhamini.
August 19. Apsara (Aparesh Babu)
September 23 Sudama do do
The sales caine down and it became very
difficult for Aparesh Babu to continue. He
ran into debt and Tarasundari also had to
suffer much pecuniary loss.
ART THEATRE CO., LIMITED.
At this time some gentlemen of Iqad and
light formed themselves into a joint stock
company under the name of The Art Theatre
Limited, to have dramas staged on approved
lines leaving aside pieces that have lost interest
after a short period. The directors were Babus
Nirmal Chandra Chandra, Kumar Krishna Mitra,
Haridas Chatterjee, Bhupendra Nath Banerjee,
Gadadhar Mullick and Satish Chandra Sen
(managing director). They spared no money
and pains for the improvement of the stage and
put Aparesh Chandra in charge of the whole
show. It was settled that Aparesh Babu
would make over charge of all his paraphernalia
to the company, his debt would be cleared at
180
company's money and that he would write and
secure flramas and himself would be master of
rehearsals. He was to get a salary of Rs. 50Q/~
a month and a lump sum for each drama.
Babu Probodh Guha became the Secretary
and practically the business manager.
There was however one omission. The greatest
female artist of the time Tarasundari who in
the Theatrical concerns suffered much loss for
the Star was left out at first and when next
the Company offered a post to her, the latter as
a self-respecting artist had to disappoint the
party. The manuscripts of Karnarjun had been
finished at the Star when Apsara and Sudama
were being staged, and the Art Theatre now
opened on the Star stage with this drama.
People were anxious for new spirit, new
energy and new faces, and Art Theatre was
auccessful in bringing this view into perfec-
tion, for the first time as an organised
institution. It was at this time some
ajnateur artists took up the profession of
actors on the stage and the Bengali Stage was
thus rejuvinated with the infusion of new
Wood. In 1921 first of all Mr. Shishir Bhaduri
M. A., left the teaching work for love of art and
joined Madan's Bengali Theatrical company. He
181
was soon joined by Babus Tulsi Banerjee, Babi
Boy and others. In 1922 Babu Naresh Chandra
Mitra B, L. and Babu Badhikananda Mukherjee
two youngmen joined the Minerva Stage and
shortly after Babu Nirmalendu Lahiri another
specimen of a fine figure also joined the Bengal
Theatrical Co. It now became also possible for
the Art Theatre Limited to secure some promi-
nent artists from amateur parties and amongst
others, Babus Tincorie Chakravarty, Ahindra
Choudhury, Indu Bhusan Mukherjee, Durgadas
Banerjee may be prominently mentioned.
With the new cast and improvements Karnar-
jun which was written sometime ago, but now
recast with improvements was put on boards of
the Star Theatre on the 30th June, 1923. The
cast was as follows
Karua Tincowrie Babu, . Arjo^n Ahindra
Choudhury, Parasuram Aparesh Mukherjee, Sakuni
Naresh Mitra, Bhima Santosh Das (Bhulu),
Bheem Noni Gopal Dufct, Durjadhan Profulla Sen
Gupta, Duswasan Tulsi Banerjee, Bikarna Durga-
das Banerjee, Padmabati -Krishna Bhamini, Neoti
Niharbala, Draupadi Nivanoni, Kunti Haripriya.
The play was successful and Katnarjun
acted on Saturday and Sunday fetched much
money to the Company. The beginning proved
182
very successful and all the parts were well-
performed. After Karnarjun, Raja Rani and
Chandra Gupta were revived, the former on
29th August and the latter on October 10.
Aparesh Mukherjee's new piece Iraner Rani
a romantic drama was next staged on 1st
January, 1924 Krishnabhamini taking the part
of Rani, Ahindra Babu that of Dara Jobeyar,
Tincowrie Babu of Daud Shah, Neeharbala
as Nartaki, and Durgadas Babu Kazi. It was
acted on each Wednesday,
In 1924, Dani Babu was taken to the Art
Theatre Limited sometime in September, on an
agreement for three years, terms of which ran
that he would get Rs. 800/- per month for the
first year, Rs. 900/- for the second and
Rs l,000/~ in the third year. He was generally
to appear on Thursdays and Fridays, as the three
important days were covered by Karnarjoon
and Iraner Rani. Inspite of the presence of
the new artists and the cowardly attempts of
some to belittle him, Dani Babu was at his
best and each night he appeared in old plays
sales rose from Rs.1,500/- to Rs.2,200/- and even
more, when he was on the stage as Chanakya,
The directors were all courteous and respectful
to him and he was as vigorous on the stage as a
young man. It appeared that the former stupor
183
at Monomohan was no longer there and even,
newspapers of the Modern period began to
praise him. The pieces he generally appeared
here in were as follows :
(1) Chanakya in Chandra Gupta, (2) Aurangzeb
in Shajahan, (3) Karunamoy in Balidan (sometime
as Dulal) (4) Vidushaka in Jana and. sometime as
Prabir (5) Jogesh in Profulla, (6) Upen in Griha-
lakshmi, (7) Nagendra Nath in Bishabriksha and also
in other pieces,
As Jogesh he used to appear for some nights
and Aparesh Babu supported him as Madan
Dada and Ahindra Choudhury as Ramesh.
In Chanakya he used to be at his best. Mr,
Durgadas Banerjee made a good mark as
Chandra Gupta and so did Ahindra Choudhury
as Seluccus. Chandra Gupta used to be often
played * here and when Kadhika Babu joined
theatre in 1925, and supported the brilliant
cast by his wonderful performence of Antigonus,
the play became more attractive.
In Shajahan Dani Babu's Aurangzeb was good
and so did Ahindra Babu with his brilliant
* It commenced with Tincourie Babu as Chanakya
(1923), sometime before Dani Babu joined. Katyaon
used to be done by Mr. Naresh Mitra and Chandra
Gupta by Durgadas Babu.
184
make-up and artistic acting, capture the ima-
gination of the audience. He fully satisfied
the tastes of the audience who were then used
to the poises and expressions of artists over-
seas, as seen on the screen, but looked at deeply,
it must be admitted that he lacked the pathos
the original actor Babu Preonath Ghose
showed some years ago f Nirmalendu Babu's
Dildar was very enjoyable.
In"Balidan"at a later period Dani Babu appear-
ed for two nights as Karunamoy and Tincowrie
Babu as Dulal. Next when he (Dani) appeared
as Dulal for three nights Aparesh Babu used to
be Karunamoy. Krishnabhamini and Niharbala
used to appear as Kiran and Hiron and Sushila-
sundari and Ascharja used to be Saraswati and
Jobi. This last pair even a few days ago for nights
appeared in their respective roles during the
Girish Centenary in Balidan and were display-
ing the same powers as before, although they
were far advanced in age.
Nirmal Shib Banerjee's Rup Kumari was
staged on December 3, 1924, with Nihar as
Kalabati, and Nivanoni as Rup Kumari.
"Bandini" by Aparesh Babu was successfully
staged on December 25, 1924 and the cast was
as follows :
185
Iskibole Author (Aparesh Babu), Tabez
Ashcharjya, Amsis Aheendra Babu,Bandini Feroza,
Mitanee Raja Durga Prasanna Bose, Naherin Nihar,
Princess Irvia- Ranisundari, Pharao Prafulla Sen
Gupta, Puraheet Brojendra Sarkar
In 1925 February 4, Golkonda by Kshirode
Prosad was staged with the following cast :
Aurongzeb Ahindra Choudhuty, Mirjumla
Tincowrie Chakravorty, Hasan Nirmolendu Lahiri,
Selima Subashini, Mohomed Indu Mukherjee,
Arzmand Krishnabhamini, Ahiron Nibhanani.
Aheendra Babu's make-up and expressions
were grand. He rendered Aurongzeb as a pious
and thougtful prince, and JTirrnal Babu exhibit-
ed real talents in his part. The drama,
however,.- did not prove a very succesf ul one.
It was at this time Girish Chandra's Jana
was revived and before Mr. Shishir Bhadury
opened Jana at Natya Mondir on the 3rd June
1925, Art Theatre had already a number of
performances with Dani Babu as Vidushaka, and
Ahindra Babu as Prabir, Nirmal Babu Arjun,
Sushila Sundri- Jana, Aschorjamoye Naika, Nihar
Bala Madan Munjuri.
After some performances; Dani Babu at the
earnest request of Aparesh Babu and a few
directors took up his original role X)f Prabir, his
24
186
part of Vidushaka " being acted by Tincowrie
Babu.
*Jana* was admirably acted and as to the
performance, we would better quote the
Amritabazar Patrika of JUNE 21, 1925.
"Those who have witnessed the older days' per-
formance of Girish Chandra's master-piece "Jana"
on the board of the old Minerva Theatre with the
immortal author as Bidushak, young Dani Babu as
Probir and the great actress late Miss, Tincowrie as
Jana in her inimitable rendering of this character as
her speciality would undoubtedly admire the bold
venture by the authorities of the Art Theatre Limited
in reviving the popular play with their present com-
bination of staff at ther disposal. The play has been
running on for the last few weeks and on each night
the house was found crowded with eager spectators
which bespeaks of their success.
"The role of Bidushak as represented by Mr.
Tincowri Chakravorty was very impressive no doubt,
but here and there he lacked in the gravity which
was characteristic of Bidushak as pointed by the
author a simple Brahmin as he was but an embodi-
ment of great believer that salvation is a matter of
consequence if man once utters the name of
"Hari". However, Mr. Chakravorty acquitted credita-
bly before the audience.
"Babu Surendra Nath Ghose (Dani Babu) the
Dramatic Director of the company deserves admira-
187
tion for his boldness to re-appear as Probir aftei?
many decades and at this advanced age. Though
there seemed to be very little in this part Daai
Babu won great applause at the scene where he
was helplessly and under peculiar circumstances
challenged by Arjuna after being betrayed by the
Maya Nayika. But the tiny figure of Madan Manjuri
(wife of Probir) before the stalwart Probir was an
unequal combination.
"Miss Sushila Sundari in her appearance in the
title role did full justice to the part entrusted to her
from the rise of the curtain till it finally dropped.
After the masterly and capital rendering of this part
by the great actress Tincowrie we had little confidence
in any body else thereafter but we miscalculated, for
Sushila Sundari did not fall far short in her mark.
We marked she had studied the character very deeply
and thoroughly well and reproduced the same beyond
our expectation. Her elocution was splendid, move-
ments very appropriate and though in some instances
her voice could not roach that pitch of Tincowrie but
that was compensated by her very apt and appropriate
expression all through. Other characters need some
improvement which we expect to be so done next
time. On the whole the play was a success. We har
the play will be repeated on Saturday next".
The great Deshbandhu C. K Dass passed
away on the 16th June 1925, and .all theatres
contributed greatly to the Deshbandhu memorial
fund started by Mahatma Gandhi. All the
188
proprietors and artists of Star Theatre too, head-
ed by Natyacharja Amrita Bose, paid homage
to the Great Leader from the stage and sang a
song composed by Aparesh Babu.
On the eighteenth July 1925, Babindra
Nath's "Chira Kumar Sabha* was staged with
Aparesh Babu as Easik, Ahindra Babu as
Chandra, Tincowri Babu as Akshoy, Durgadas
Banerjee as Purna, Radhikananda Babu as
Bepin, Indu Babu as Srish, Niharbala as Nero-
bala, Eani Sundari as Purabala, Sushila as Saila,
Feroza as Nripabala, Nando Rani Jaguttarini,
Nivanani as Nirmola. Babu Dinendra Nath
Tagore helped in music and Abanindra Nath
Tagore in scenes and scenery. The poet (author)
was also present in the second night of perfor-
mance on (25-7-25) and admired the representa-
tion immenensely. Indeed the performance was
very sucessful and Rashik, Chandra, Akshoy,
Purna and Nihar were appreciated as best. It was
very enjoyable and the mirth it produced was
free from any vulgarity. Wa have often seen
the play and considered the acting as a grand
one. The poet himself called Aparesh Bijbu
as Basik Babu. Chandra Babu fully represented
Babu Rajaram Bose who was probably referred
to by the author and Tincowri Babu with
hia songs and demeanour, appeared very digni-
189
fied. Last though not the least, Purna appeared
as the most interesting character on the stage*
although for a few nights the part was a little
overdone.
Chandra Sekhar too was revived on August
28 with Babus Badhika and Durgadas as
Chandra Sekhar and Protap, Ahindra Babu as
Nabab and Sushila Sundari and Ascharjamoee
as Saibalini and Dalani,
Poet's Grihaprabesh was staged on December
5, 1925, with Ahin Babu as Jatin, Tincowrie
Babu as .Doctor, Kumar Kanakendra as Akhil,
Susila as Mashi, and Niharbala as Himi.
"Kishirmeya" of Dr. Naresh Chandra Sen
was staged on December 25, 1925 with Durgadas
Banerjee as Charu Dutta, Ahindra Babu as
Agnibarna, Radhika Babu as Apastamba,
Sushila Sundari as Sasmati, Eani Sundari as
Sreelakha and Nihar as Sudatta.
Both in 1925 * & 1926, one great enjoyment
was the appearance of Dani Babu as Gadadhar
in Sarala supported by Tincowrie Babu
* In April 1925, a part of the company went to
Rangoon and showed some performances there. A few
artists went there amongst whom Durgadas Banerjee,
Nihar, Nibhanoni and Kadbacharan's name are worthy
of mention, Ahin Babu also went for a few days.
166
and Nirmalendu Babu as the brothers Sashi
and Bidhu, Eani Sundari and Krishnabhamini
as their wives and Ascharja as Syama,
In 1926> the following new performances
need mention :
May 15 Srikrishna * (Aparesh Mukherjee).
July 7 Lak Taka (Sourindra Mukherjee).
Attorney Ahindra Choudhury, Fakkaram
Badhikanonda, Bhujongini Nihar, Chanchal
Sushila, Khandarni Eani, Beakkel Santoah (Bhulu).
July 20-Sodh-Bodh (Eabindra Nath).
Satish Ahindra Choudhury, Mr. Nundy Radhika
Babu, Mr. Lahiri Kumar Kanakendra, Nelly Nihar,
Sukuraari Sushila, Charubala Sareswafci.
* Tincourie Babu gave a very smart representa-
tion of Srikrishna. As to Mr. Surendra Nath Ghosh,
the lovers of the histrionic art were longing to
see him in a new role from a long time and the
audience were simply charmed with his masterly
representation of the character (Bhisma) Mr. Ahin
Choudhury as Durjodhan ably represented his part
and so did Eadhikananda Mukherjee as Sishupal. Mr.
Durgaprasanna Bose as Basudeb was splendid and
Mr. Brojendra Sarkar gave a short representation of
of the charactor of Drona. Miss Sushila Sundari had
another feather added to her crest in the role of
Prapti and Miss Niharbala moved the audience with
her sweet sonorous songs, Forward 23-5-26.
Pandoba Gouraba was revived with Dani Babu as
Bheem, Sushila as Subhadra.
191
Nov. 10 "Dwande Matanam' 5 a humourous
farce of Amrita Lai Bose with Kanak Babu,
Ahin Babu, Tincowrie Babu and Nandorani as
Karalimama, Baj Bahadoor, Naba and Hindus-
tani Zenana respectively. The well-known actress
Kumudini appeared for the last time in this
piece. Soon after, she died of Cancer.
Chandidas was a good drama and the parts
were acted very well. It was staged on Decem-
ber 25, 1926 with the following cast :
Chandidas Tincowrie Babu, Durlav Radhika
Babu, Sucheet Sing Kumar Kanok, Nafarmama
Noni Mullick, Bhutanonda Profulla Sen, Sontosh
Sinha Nakul, Haradhon Santosh Das, Eami
Niharbala, Champa Saraswati, Nitya Sushila (Jr.)
In 1927 (September, 10) Eabindra Nath's
Paritran was staged with Tincowrie Babu as
Dhananjoy and "Mager Muluk" was staged on
December 3, 1927 with Tincowrie Babu as Sha-
shuja, Neehar as Gulbanu, Nibhanoni as Peara-
banu, Naresh Mitra as Narohari, Durga Prosanna
as Mirjumla, Profulla Sen as Aurongzeb and
Durgadas Banerjee as Mohammed.
The Art Theatre showed some performances
on the Monomohan stage also "Ramayon" on
July 1, 1927, and "Chand Soudagar"on Septem-
ber, 14, Ahindra appearing in the main role, and
the part of Behula being taken by Niharbala.
192
Dani Babu left towards the close of the
year 1927. Monmotho Eoy's Debashoor was
staged on April 28, 1928 with Ahindra Babu
as Brittra. Protapaditya was staged during
X'mas. Tarasundari joined the Star Theatre
and appeared as Viswashawri in Rama staged
on 5th August, 1928. Her dignity added to
the character very fittingly. She was here for
a short time.
Fullara and Rajani were staged on October
20 and were done well with Aparesh Babu as
Eamsaday, Ahin Babu as Kalketu and Amar-
nath, Monoranjan Bhattacharjee as Bhandu
Dutt and Hiralal and Nihar as Fullara and
Labangalata, Santabala as Chandi and Susila
(jr.) as Bajani,
Mantra-Sakti was another brilliant piece for
"Art Theatre" and gave it much money. It was
rendered into a drama by Aparesh Babu from
Sreejukta Anurupa Devi's powerful novel and
staged on November 23, 1929 with the following
cast :
Mriganka Ahindra Babu, Bamaballav Kunja
Chakrabarty, Ambar Indu Mukherjee, Adyanath
Naresh Ghosh, Poran Tulsi Chakravorfcy, Bani
Krishnabhamini, Krishnapriya Kusum Kumari, Abja
Susilabala (Jr.), Mothro Tiricowrie Babu, Jahura
Rajlaksmi, Tulsi Subashini,
193
All the parts were rendered well, and those
of Mothro, Am bar, Bani and Mriganka deserve
special mention. The last part was done subse-
quently by Handu Babu, Sisir Babu, Durgadas
Babu and others. On some occassions Durga
Das Babu appeared to be interesting.
The renowned dramatist and Manager Natya-
oharya Amrita Lai Bose, one of the proprietors
of the Star Theatre who even a few days ago
appeared here as Behari Khuro passed away on
July 2-1929, With his death, Bengal loses a
great personality who was next only to Girish
Babu in his relation to the National Stage.
In 1929, when Natya Mandir at the Corn-
wallis stage was closed, Mr. Bhaduri for some
months joined the Art Theatre Limited appear-
ing sometimes as Chandra, sometimes as
Mriganka, etc. In September 1930 while still in
the employ of Art Theatre, he left for America.
Art Theatre was now losing in reputation and
the Company too could not make much head-
way. But the situation thoroughly changed when
Dani Babu's services were secured on a high
salary. In the meantime Sakuntala was staged
on October 30, 1930, with Tincowrie Babu as
Kanwa, Durgadas as Dusmanta, Sushila Bala
(jr.) as Sakuntala, Kusum as Goutarna and Tulsi
Banerjee as Vidushaka.
25
194
In 1931, September 18, Aparesh Chandra's
Srigouranga # was staged with Dani Babu in
the dual roles of Eamananda and Chapal
Gppal and Tincowrie Babu as the name-hero.
The part of Chapal Gopal was serio-comic
and the character ultimately bursts into devo-
tion. Liberty as to the representation, writes
thus on 27-9-31 :
"Dani Babu has astonished us by appearing
in a dual role. His rendering of Chapal Gopal
proves, if any proof is necessary, that he is not
to be beaten even in this old age."
Miss Krishna Bhamini's acting also in the
role of Bishnoopriya was superb Liberty
thus expressed "Krishna Bhamini is her usual-
self as Bishnupriya. The sincerity of her voice
touches every heart and everyone in th$ auda-
torium shares in her suffering. She has run
away with the best acting honours of Srigou-
* Souren Mukherjee's "Sayambara" was staged on
Jmna 27, 1931, with Tulsi Banerjee as Satyaban and
Krishna Bhamini as Sabitri, Durgadas Banerjee as
"Yama and Tincowri Chakrabarty as Dwootnat Sen,
Kusura Kamari Saibya and wood cutter Santosh
Das (Biscuit Kheko Bhulu).
Pani Babu was again taken to the Art Theatre,
after the Monomohon Theatre was closed.
ranga. Udhwarini too was ably rendered by
Santabala and Baramukhi by Saras wati."
But the most glorious and prosperous days
of the Art Theatre Limited were in March 1932
when Poshyaputra (dramatised very cleverly
and artistically by Aparesh Babu from Srijuktfc
Amirupa Devi's novel of the name) was put OB
boards on the 12th of the said month. It is one
of the best performances ever acted on the
Bengali Stage since its establishment, and the
novelist, dramatist and the principal actor,
with all his associate-artists, deserve to be con-
gratulated for having contributed to the
greatest success of the play.
It is the only play like Girish Chandra's
"Balidan" where all the parts were free from the
least defect, and above all Dani Babu made
such rare exhibition of talents that those who
saw higa playing the part could not say if he
was any inferior even to his father the greatest
actor of the Indian Stage, The author of the
dramatic piece Babu Aparesh Chandra used to
call it as rare as the lunar eclipse at Benares,
the most sacred place of India. The cast was
as follows :
Shyamakanta Dani Babu, Eajaninath Moaoran-
jan Bhattacharjee, Baikuntha Tulsi Chakravarty,
Bifcode Jivan Gangulee, Hemendra Santosh Sinha,
196
Jogen Indu Mukberjee, Phatik Jahar Gangulee
Nanda -Suren Boy, Thieves Subal Ghose, Ashu
Bose, Sidheshwari Santabala, Sivani Krishna-
bhamini, Santi Susilabala (jr.), Jogen's wife Angur
Bala, Takia Hari Rajlakshmi.
The present author after seeing the perfor-
mance wrote a contemporaneous review of the
piece which appeared on the 27th March 1932
in the Amrita Bazar Patrika. While reproducing
it in the following lines he now finds that in
most of the cases what he wrote fell short of the
actuality which was indeed so unique. The
omission was all the more regrettable in the
cases of Eajani Nath who really was very
natural and of Jogen who, too, was full of ease
and grace. The review runs thus :
"POSHYA PUTRA".
(Hemendranath Dass Gupta, author of Girish)
"When something appears in print about the stage,
or the screen, the reader generally takes that with
a grain of salt ; the fault is not his, but it is often due
to the obliging spirit with which the review is written.
At the very outset we want to guard ourselves against
such a charge referred above.
On Saturday last, we had been to the Star Theatre
to witness the performance of "Poshya Putra" a
dramatic adaptation of a society-sketch by Srijukta
Anurupa Devi the distinguished novelist of Bengal,
197
"It is first of all, gratifying to note that we have
powerful writers amongst the Bengali ladies, who
in their ability and art are not less distinguished than
their renowned sisters in European literature, and
surely Srijukta Anurupa Devi is one of them. Yet a
fiction is not a drama, though it may abound in drama-
tic elements. The function of a dramatist is different
from that of a novelist. The dramatist has to work
under certain limitations and restrictions which
are absent in the case of a pure romanticist, and it
requires no small skill to change a narration into a
compact drama. In the present case under review the
dramatisation is complete, and our thanks are due to
Babu Aparesh Chandra Mukherjee, the veteran writer
of the stage. Aparesh Babu has given a new setting
and thereby a new air to the whole story. It teems
with life and beauty. In his present performance
Aparesh Babu can fairly take his stand even with
the famous adaptors of the Engliah Stage. The
success of the performance is entirely due to his
dramatic art that has adroitly woven the complex
events of the fiction into a moving tale of pathos and
beauty. To speak the truth, after a long time we
found a genuine social drama on the stage.
The story of the book is not unnecessarily com-
plicated like the present ones that one generally comes
across in modern fictions, which sanction all sorts of
absurdities and libidinous effusions under the
imposing name of Psychology.
Shamakanta a good-natured Zaminder wants to
marry his son Benode to Shanti, the daughter of big
early friend Rajani.
"Benode refuses to accede to his father's request as
he intends to go to England for studies. Naturally
the father feels irritated and the son leaves the
protection of his father. Several incidents combine
together to lead Benode to Brindaban where he falls
ill; and is nursed by Shibani, the virtuous daughter of
a selfish virago named Sidheswari. After some time
there occurs a rupture between the husband and the
wife and Benode leaves Brindabon in disgust.
Shamakanta in the meantime thinks his son dead, as a
dead man is recovered with Benode's coat and chain.
The penitent father then adopts Hemendra as his son,
whom he married, to Shanti, Hemendra falls in bad
company. Shanti is reduced to straits. Shibani is
leading the life of a widow and comes to Shamakanta
with a posthumous son of Benode. Shamakanta
receives her warmly and is beside himself with joy
at the sight of the young boy that reminds him of
his own son Benode. The party labours under a
delusion for a long time, then at last the parties are
reconciled to one another. Both Hemendra and
Benode prove sons affectionate to Shama Kanta. This
broad outline of the story is filled with hundreds of
amusing and interesting details that help to develop
each character and dramatic beauty of the story.
"Now, we must speak about the performance itself.
Aa we have already outstepped our limits, we must
be very brief. Dani Babu, (S. N. Ghose) acted the
part of Shamakanta. It is indeed a treat to see that
old veteran in his elements again, as if he has got
back his youthful fire. Age seems to have no effect
upon the great actor. He reminded us often of his
199
illustrious father, Girish Chandra Ghose, the greatest
actor and the father of the Bengali Stage. One 'may
exclaim "a chip of the old block". Such presenta-
tions of complex emotions in the stage without
affectation or undue straining are to be seldom met
with, be it on the English or the Bengali Stage as
when he heard of his son's death and again notices
the exact likeness of his son in Shibani's child and
when at last he recognises his own son Benode. All
other characters have acquitted themselvs well. But
the characters of Benode, Bajani and Baikuntha de-
serve special mention. But the whole humour of the
piece is centred in Fatikchand. The juvenile actor Mr.
Gangulee appeared in the role and he took the whole
house by storm by his humourous acting. It may
not be high comic but has nothing of the usual vulgar
or profane air that is, unfortunately, so abundantly
common on the Bengali stage to provoke mirth
amongst people of low tastes. It is a relief that we
can laugh and feel ourselves merry without a blush
on our cheeks.
"The female characters were well represented,
specially that of Shibani, Sidheswari, Shantilata,
Harimati and Ghanduri. Krishnabhaimni as usual
was at her best in the pathetic character of Shibani.
Her histrionic talents are beyond any dispute and
Sushilabala in the character of Shanti has also kept
up her tradition as an actress of merit specially in her
gentle and tender sentiments. This in brief is the
impression that the play has created in us. The
theatre-going public will have a rare treat so long
the show is presented on the stage. Aparesh Babu
deserves our thanks for providing the public with $
piece of brilliant dramatic entertainment."
200
The growing success of "Posyaputra" was,
however, attended with misfortunes beyond
human comprehension.
Dani Babu soon fell ill and the company was
faced with a dangerous situation. Such superb
was his acting and so great the public apprecia-
tion that for all days he was on the stage in
this character, the sales were gradually on the
increase and on the last Sunday he appeared
even with illness, the sales rose to Es. 2,600/-.
But henceforth it became impossible for him
to appear any more after the 27th night, and
there was none who could reconcile the audience
to the loftiest standard of Dani Babu's re-
presentation,
He did not recover and on the 28th
November 1932* the most powerful and popular
actor of Bengal during the last twenty seven
years who not for a moment fiddled with the
stage breathed his last at Calcutta, to the great
mortification, and loss of Aparesh Babu, the
directors, the artists and above all, the whole
Bengali audience past and present.
Illness followed illness. Death followed death.
The celebrated actress Krishnabhamini too, the
* Bidrobini a new piece was being played from
November 5 1932 at the Star. Rani Saraswati,
Tonka Monoronjan, Lingchoo Ashu Bose.
201
next best to Dani Babu in Poshyaputra fell ill
never to recover. Her death in June 1933
aggravated the tragio situation and the climax
came when Aparesh Babu the Manager, master
and dramatist too, suffering a cruel disease for
a long time from early 1933 followed the two in
June 1934, The loss of the Art Theatre was
incurable and the company thought it best to go
into voluntary liquidation.
"Manamayi Girl's School" was a very interest-
ing piece, and mirth was highly enjoyable
without having any thing of indecency though
two teachers (one male and another female) had
to stay even in the same room. The piece came
from the pen of a budding writer Eabindra
Maitra whose loss we deeply mourn, and was
staged on Dec, 30, 1932, with the following
cast
Niharika Padmabati, Monoj Jahar Gangulee,
Bajen Indubabu, Zemindar Noni Gopal Mullick,
Manamayi (his wife) Sarat Sundari.
Manamayi was preceded by Dr. Naresh Sen's
"Barabou" (adapted from his story "Pagal")
staged on December 24, 1932 with Jahar
Gangulee as Habu (Satyendra) Jivan as
Surendra. The supporting cast was :
Monoronjan Zacnindar Jogen, Hariharanonda
Lalit Mitra, Barabou Saraswati, (Narayani*) Heme-
tala Susilabala.
* It first appeared as "Narayani" in the monthly
paper "Kulikalam".
26
202
This promising actress Saraswati was also
cut off soon. Ahin Babu who had been at
Minerva now joined the Art Theatre and appear*
ed for the first time on March 11, 1933, as
Symakanta in Foshyaputra. But nothing could
save the Theatre.
The Art Theatre Co. was a limited concern
with directors of considerable means and none
eared much for the loss or gain. But this much
is to be admitted that they served the public
to their best capacity and produced on their
stage all good and available dramas with best
talents from time to time.
Mandir Prabesh by Jaladhar was the last
piece staged here from May 27, 1933 with Ahin
Choudhuri as Baseek and Manoronjan as
Lokenath taking up the cause of the Harijans.
After that the artists of Star and Natya
Maudir combined to stage "Sorashi" and
other pieces. Babindranath's "Baikunther
Khata" was staged with Ahindra as Baikuntha,
Abhimanini was staged on December 25,
1933. Shishir Bhaduri took a part.
There were cases at the High Court and an
official Beceiver in the person of Mr. Kanti
Mukherjee, solicitor, was appointed. As this
gentleman was a great friend of Mr. Bhaduri,
the latter took lease from him.
203
Next year Mr. Bhadury opened at the Stai*
Stage his "Nava Natya Mandir" and staged
Birajbou * on 28th July 1934 and Sarama on
the 27th September, with himself as Bavan and
Kanka as Mandodari, Prabha as Sita, Banibala
as Sarama, Biswanath as Rama, Sailen
Choudhury as Bibheesan, Kanu Banerjee as
Tarani Sen.
Sachin Sen's Dasher Dabi was staged on
November 24, 1934 with Shishir Bhaduri as
large-hearted Dayal, Biswanath as poet Nisha
Nath, Sailen as Prafulla, Kanka as Sujata Devi,
Prabha as Nandini, Sital Pal as Sardar and
Santaseel as Sontal.
Bijoya the dramatic version from Babu Sarat
Chatterjee's "Datta" was also staged on
December 1934 with Mr. Bhaduri as Bashbihari
and the sales this time were good. Bijoya
continued for nights, but Shyamaby Mr.Satyen-
dra Krishna Gupta was a poor show.
Bhaduri however lost his good name owing
to his irregular habits and his expressions now
and again under the influence of liquor used to
* Casting of Biraj Bou as follows :
Nilamber Bhaduri, Pitambar -Probhat Babu,
Biraj Bou Kanka Bati, Mohini Rani Bala, Sundari
Radharani, Gajan Sannyasbi Santasheel.
204
offend audience. Sales began to dwindle and
Riti Mata Natak staged on December 21, 1935
with masterly skill did not improve matters.
Differences between him and the Star proprie-
tors were acute and his position became very
unsteady. Feelings became strained and cul-
minated in a case instituted by Mr. Ketan Bose
against him which however ended in Bhaduri's
triumph. His connection with Star, however
ceased for good.
He was showing performances no doubt
throughout the year 1936, but no new piece
was produced. The only piece staged in
December 1936 'Rabindra Nath's Jogajoga *
with himself as Madhusudan proved no success.
He. was at the Star till the whole of May 1937.
Babu Bimal Pal next took the lease and
Babu Rathin Banerjee as producer put on boards
Vidyapati (of Raines Goswami) Ayaskanta
Bakshis Abhisarika, on Dec. 25, 1937 afcd Mr.
Dhiren Mukherjee's "Aparajita" on December
-30, 1937 with the following cast :
., Sibsingh Eatin Banerjee, Eaj Guru Sibkali,
Srinibash-r-Bhumen Roy, Cbitra Santi Gupta,
Mahamaya Baj Laksmi, Mandakini ,Charu Bala,
Manjuri Aruna Da?, Lachchmi SefaJika
* Bipradas -Sailen Choudhury, Narbia Kanu
Banerjee, KumudiniKanka, Matirma Ranibala,
Syarna Fatal
Kaler Dabi by Sachin Sen Gupta was staged
on March 12, 1938 and that was the last play
during Mr. Pal's lease.
After this Babu Upendra Kumar Mitra the
renowned proprietor of the Minerva Theatre
came with his full staff from that board and
commenced with Dharma-dwanda (which had
opened at Minerva) till the first new piece
Chakradhari was ready for performance. It was
from the pen of Mr. Mahendra Gupta a
dramatist of promise and was staged on 3rd
June 1938 with the following cast :
Sambar Sarat Chatterjee, Mayabati Miss Light,
Prodyumna Jivan Ganguly.
This was followed by Sudhin Balm's
"Banglar Boma" on September 30, and
Basudeb (Monilal Banerjee) on 17th December
1938 with Miss Light as Satyabhama. Mr, K. P.
Ghosh was in charge of production.
In 1939 the following pieces were put on boards :
March, 18th Durga Sree Hari, (Bhupen Banerjee)
May 27 Sonar Bangla (Mohendra Gupta)
September 2 Janhavi (Bholanath)
November 26 Janani Jamnabhumi (Sadhin Baha)
1940 :
March 16 Sati Tulsi (Mahendra Gupta)
Sarajubala was in the main role with Durgarani
*e Srirupa
206
May 19 Uttara (Mahendra Gupta)
Shefalika in the Main role, Jivan Ganguli
Ghatotkach, Amal Banerjee Arjoon.
July 13 Eanjit Singh (Mabendra Gupta)
Banjit Singh Jiban Ganguly, Kharg
Singh Amal, Jhindan Miss Light.
September 28-Banoda Prosad (Sudhin Baha')
Under K, P. Ghosh's direction, with
Amal Banerjee in the main role.
* October 26 Gangabataran (Mahendra Gupta)
Decmber 21 Ushaharan (do) Ban Jaynarayan
Mukerjee, Usha Miss Light.
1941 .
April 4 Eamale Kamini (Mohendra Gupta)
Amal Srirnanta, Radha Usha Devi.
July 10 Brittra Sanhar by Bholanath (Mohendra
Gupta Direction).
September 18 Madan Mohan by Amar Nath
Chatterjee, Direction Mahendra Gupta,
Lai Bai Miss Light, Gopal Singh
Sidhu Ganguly, Bhaskar Jaynarayan.
JL \/4btf v"~""*
January 24 Bani Bhabani (Mahendra Gupta)
Bani Bhabani Miss Light, Siraj Bhupen
Chakrabarty, Dayaram Jaynarain
Mukerjee, Mirzafar Sanat Mukerjee.
April 18 Alakananda (Mahendra Gupta)
July 18 Purir Mandir, (Aawini Gljosh )
October 9 Mahalakshmi (Mahendra Gupta)
207
1943:- -
January 9 Rani Durgabati (Mahendra Gupta)
February 11 Krishnarjoon (Barada Das Gupta)*
April 22 Sukanya (Babi Pande)
June 4 Maharaja Nandkumar (Mahendra Gupta)
Nandkumar Jaynarayan. Clavering
Bhumen floy, Hastings BhupenChakra,
Lutfa Beena Devi, Kshyama Devi
Nirupama, Moni Begum Aparna Das.
September 29 Devi Choudhurani dramatised by
Mahendra Babu was staged with
Bhupen Chakravarty as Brajeswar, Joy-
narayan Mukerjee as Haraballav, Bepin
Gupta as Bhabani Pathak Aparna as
Devi and Bina as Sagore.
Befofore the play began, "Bandernataram" song
was sung in chorus. There was great en-
thusiasm sensation in the opening right.
Durgesh]Nandini rendered into drama by
Mahendra Gupta was staged on December '22,
1943. The performance was enjoyable and
scenic arrangement with representations on two
floors on the stage was good and marked a novel
improvement. The cast was as follows
Jagatsing Sindhu Ganguli, Osraan Bhumen Roy
Birendra Sing Bepin Gupta, Bhupen Chak Diggaj,
Bemala Aparna, Ayesha Usha Devi, Tottarna
Bina, Katalukhan Joynarain.
208
On the 19th May 1944 Mahendra Gupta's
Tipu Sultan was put on boards with Bepin Gupta
in the main role. The supporting cast was as
follows :
Haidarali Eabi Koy, Monsiur Lally- Bhumen
Boy, Cornwallis Jaynarayan Mukerjee, Nana Farna-
vis Bhupen Chakravarty, Wellesly Malcolm,
Nizain Panchanan Banerjee, Karim Shada Sidhu
Ganguli, Krishnabai Aparna, Sophia Beena, Runi
Begum Uma Devi (afterwards Sefalika).
The Star Theatre is maintaning its tradi-
tions. As we have seen, it began in 1888 with
Nashiram at its present site, not to speak of
Dakshyana in 1883 in Beadon Street, and since
thin it has passed through different hands and
is now being managed by Babu Upendra Kumar
Mitra assisted by his son Salil Babu.
The days of Nashiram and Kalapahar, Profulla
and Mayabashan are things of the past, even
Pratapaditya, Bana Pratap, Mirkasim and Nanda
Kumar need not be recalled, Khasdakhal, Karnar-
joon, Chandidas and Poshyaputra may also be
forgotten, but the fact should not be denied that
Star Theatre is the solitary example that
still cherishes and times to follow the
glorious memory of the old. It is no longer
a cheap theatre and is, I am sure trying
its best to proceed on the right lines.
209
Not only scenic improvements are being
gradually achieved, but the general acting
also has became more efficient. Mr. Mohendra
Gupta is the dramatist and in charge of
direction who has within a short space of
time produced a number of national dramas
Eanajit Singh, Rani Bhabani, Nanda Kumar,
Devi Chowdhury and Tipoo Sultan. The
present writer does not intend to lay stress on
the merits or demerits of the modern dramas of
writers most of whom are living and his friends,
but this much is certain that the Star Theatre
is sparing no pains and money to produce such
dramatic * pieces as will have the tendency to
raise the moral tone and dignity of the Stage.
We offer our congratulations to Messrs Mitra
(the father and the son) and also to Mr. Gupta
and hope they will go on, as best as possible* in
ennobling the tastes of the audienee and
increasing the moral tone of the people of
Bengal on tfre model of Girish Chandra and his
worthy disciples who were so long the proprie-
tors of the very Star Theatre they are in charge
of now.
27
CHAPTER IX
THE ENGLISH THEATRES OF CALCUTTA.
In the first volume of the Indian Stag we
have dealt with, in detail, the Play House, the
Caleutta Theatre, Chowringhee Theatre and
Sansouci Theatre managed by the Early English
settlers of Calcutta, for about a century and
have shown how these Play-Houses greatly
influenced the later growth of the Bengali
Stage. No doubt both Drama and Stage of
India are of purely Indian origin, but the
apathy of the rulers for theatrical enter tain-
toents during the Moslem rule set it greatly
back. With the advent of the British settlers,
however, who brought with them their national
institutions and customs, the Bengali Stage
was revived after centuries' stupor.
In truth, LehedefFs Bengali Theatre of 1795
at 25, Domtolla was the fruit of the . direct ins-
piration from the Calcutta Theatre (17761808)
and Babu Prasanna Kumar Tagore's Hindu
Theatre (1831) and Nabin Krishna Bose's
Bengali Theatre at Shambazar (1832) owe their
ail
incentives to the Chowringhee Theatre (181&-*
1839). The Sansouoi Theatre (18391849)
also exerted a great influence upon the Bengali
students, during the middle of the 19th century,
and its actors used to train the corps of the
Oriental Theatre, some prominent members of
which subsequently staged the first genuine
Bengali Drama Kuhn Kula Sarvaswa Natdka
by Pandit Eamnarain Tarkaratna in 1856 at the
house of Joyram Bysak at Tagoie Castle Road.
The Great National Theatre, the first perma-
nent stage of Bangal with which Girish Chandra
was associated for years, was also built after tfhe
model of the Lewis Theatre at the Maidan,
conducted by Mrs. Lewis from 1872-76 We
have also seen how Miss Fanny Anson's
Galatia served as a model to Binodini's Bahama
in Mohini Pratima in 1881.
The Bengali stage after this, grew inde-
pendently and became itself a glorious institu-
tion. It required no outside help or inspira-
tion and became complete by itself, and by the
time two British actors Matheson Lang aqd
Allan Wilkie, both of London celebrity came to
Calcutta in 1911, when Girish was in death-bed
and Ardhendu Sekhar, Mohendra Bose, Amrita
Mitra were long dead, even t&en~~ Dafci Babu
212
and Amarendra Nath Dutt appeared to im-
partial observes in no way inferior to their
English compeers.
\
After Mrs. Lewis left, there was no perma-
nent English theatrical party, although there
were Opera House, Theatre Royal and Corin-
thian Theatre but they were meant for casual
performances or musical entertainments only.
Except a few solitary instances, dramatic pieces
too were either light comedies or farces which
could not approach the high standard of comic
representations where Ardhendu Sekhar or
Bel Babu, Khetromoni or Binodini were the
rival artists. History, however, requires that
our readers should be informed about occassional
dramatic entertainments arranged in Calcutta
by some European Companies from time to time.
Five or six years after Mrs. Lewis left the
shores of India, Herr Bandmann came with his
party in January 1882, and showed some
performances for two or three years at the
Theatre Royal, amongst which Hamlet,
Macbeth * East Lynne, Borneo Juliet, Eichard
III and Othello or the Moor of Venice were the
most note-worthy. In the last piece staged on
January 28, Herr Bandmann was in the role of
* Vide page 69, vol. Ill, Indian Stage.
213
Othello, D. Orsay Odgen in that of lago, D.
Newton of Cassio and Miss Louis Beaudot that
of Desdemona.
Next came to Pollard's Lilliputian Opera
Company which showed some performances for
some years (1896 99) at the Opera House,
Calcutta, viz., the Mikado ( Gilbert and Sulii-
vant's masterpiece) Lamascott, Robinson Crusoe,
The Pirates of Penzance etc.
About the same time the Brough Comedy
Company under the dination of Mr. Brough
also showed some performances at the Theatre
Royal viz. the Dandy Dick, Nisbe, A village
Priest, Sowing the wind etc. The artists were
Mr. Brough, Mr. Plimmer, Mr. Roberts, Mr.
Shine, Miss Temple, Miss Wall, Miss Hardy and
Mrs. Brough. In the "Advanture of Lady
Ursula" by Anthony Pope, Mrs* Brough played
the part of Lady Ursula Barrington, Mr.
Brough that of Rev. Dr. Blimboe. This was
also from 1896 and onwards.
Oscar Wilde's plays"An Ideal husband''
"Salome" and "The Importance of Being
Earnest" were performed by Nancy & Co. "Ali-
baba" shown in July 1896, here, was followed
by Amazon and 'Fedora'.
A few other companies, viz, The Amateur
Dramatic Society, Eclipse, Variety company, the
214
Janet Waldorf Company, the Hudson's Drama-
tic C.ompany etc. showed some performances at
either of the two Theaters. Then again
"Camille" (with Miss Janet as Oamillee), the
Mummy, Bobin Hood and last though not the
least "The Sign of the Cross'' and Shakespeare's
"As you like it" by Henry Dallas's South African
Dramatic Company, which opened on Dec, 24,
1898 at the Corinthian Theatre deserve also
mention, Mr. Dallas's Tweedle Punch in Queen
Hall's "Florodora" was interesting, and "San
Toy" too was staged by his company,
In 1900, again, the Bandmann & Co. under
the management of Mr. Maurice E. Bandmann,
arrived in Calcutta with 50 artists and staged
at the Corinthian Stage, "Florodora" on Dec.
22, as it had been performed at the Lyric
Theatre London. They also played "Little
Cristopher Columbus," "Cingalee", "La Pou-
pee" and other pieces. After showing some
performances, they left Calcutta and came back
in 1905.
In the meantime, other companies also
showed performances at Calcutta, Of those,
Wilson Barrets "Sign of the Cross' 5 on Oct. 3,
1908, and "Castle" (J. W. Roberson's) on Oct.
17, with Mies Vivian Dagmer as Esther Ecclee
215
and Aany Sherar as Polly Eoeles are wo*tJ&-
mentioning. "East Lynne" by Fanny Stanby's
Opera Company with Miss Fanny Stanby as
Lady Isabel and Madame Vine was also acted
with success.
Mr. Bandmann with his Opera company
after a long tour and direct from Khedive Opera
House, Egypt, came again to Calcutta and com*
mencing from June 22, 1905 entertained the
English people mostly with "A country Girl"
"The Talk of the Town" "by Lady Molly", u The
Cingalee" "The Geisha" anh "Orchid" etc. after
which he left for his far-eastern tour.
Now in absence of Mr. Bandmann, the Lyric
Opera Company, with Mr. Fred Ellis as mana-
ger, arrived in Calcutta and showed amongst
other pieces, Cingalee, Orchid (with Mr. Ellis
as Miakin) and advertised a representation of
"The Geisha" for July 5th to 9th 1906. Now,
these were the self-same pieces of which Mr.
Bandmann was the sole licensee, the exclusive
rights being obtained from George Edwards
of Daly's Theatre London, for British India
and Far East. A warning was given by Mr.
Bandmann from Singapore where he was then
on tour, but Ellis insisted on acting these pieces,
Bandmann had no alternative but to pray before
216
the High Court for an injunction and Mr.
Justice Bodily granted it on July 4. 1906,
Mr. Bandmann embarked on Sept. 12, 1906
for London, after having toured in China.
Singapur, Ceylon and other places. Before he
left he had some trouble with an actress of the
name of Miss Caird. The girl produced medical
certificates from some Eangoon physicians that
she suffered from Tubercular complaints and
wanted to be immediately released. It appeared
some persons were fomenting the trouble from
behind. Mr, Bandmann wanted the girl to
accompany the party and did not brook outside
dictation, There was much controversy going on
through newspapers, and Miss Carid refused
to acompany the rest of the company, although
a direct passage to home was offered to her. Her
case was that Mr. Bandmann refused to help
her saying 'no work, no pay/ Mr. Bandmann's
case was that he was paying all her charges,
although she was not working. Miss Caird,
however got help from some persons in Calcutta
and then she left. Mr, Bandmann returned in
1909, and showed some performances at the
Empire Theatre when "The Arcadians, 'Our Miss
'Gibbs/ 'Butterflies" & were put on boards. Miss
Connie Leon who joined his company made her
first appearence on Nov. 13, 1909.
an
Another company "The English
Company" showed some performances at the
Opera House in Nov. & Deo, 1909 and under
the direction of the popular actor Mr. Sydney
T, Pearse, staged "The Sceptre and the Cross' 1 ,
"For the King and Bernard Shaws' Play "ArmQ
and the Man" on Dec. 20, "Mrs. Dane's Defence"
and "A Marriage of Convenience". The party
then left on Dec. 28, 1909 en route to Bombay,
Ceylon, Japan and Phillipines.
Mr. Bandmann next scored a great sueeeae
by inviting the well-known Shakespearian aotot
and manager Mr. Matheson Lang and his co-
adjutor Miss Hutin Britton. Sometime before, in
1909, he had also brought Charles Vane to play
in different characters of Shakespeare and
through the efforts of Mr. Probodh Chandra
jGhiha, a performance at the St$r Theatre wftS also
arranged* Now Mr. Lang's productions
and Romeo Juliet at the Lyceum, Jjpndon,
still fresh in the memory of many
goers and he was highly appreciated for
ing some performances at the Empire
Calcutta on December 6 and 7, 1911,
of the Shrew, llth Hamlet,
Magnificent and the Farewell performance of
Taming of the Shrew on December 30, 1911. Mr.
Lang appeared as Harslet, Petr uchio *tc*
28
218
Miss Britton as Ophelia and Catherina. In
'Hamlet', Charles Vane now with them, was in
the role of Polenius,
About the same time, another well-known
Shakespearian actor Mr. Allan Wilkie of the
London Bepertory Co, accompanied by Miss
Frediswyde Hunter- Watts entertain ed the
Calcutta audience from the boards of the
Opera House by showing performances of The
Cardinal (Parker's) on the 5th December, 1911,
Othello on the 6th, Borneo Juliet oft the 7th
and Hamlet on the 9bh, Julius Ceaser on the
16th, Merry Wives of Windsor, The School for
Scandal, Twelvth Night, She stoops to conquer,
David Garrick, Taming of the Shrew and Bob
Boy, Both Wilkie and Miss Watts appeared
in leading roles,
Wilkie was Falstaff in Merry Wives of
Windsor. In Merchant of Venice Wilkie as
Shylock "at 'once kept the audience spell-bound
with admiration and held their attention
without the least slackening, and his dramatic
final exit was superb 1 ' (Englishman). Portia too
as represented by Miss Watts was attended
with great success.
Both Lang and Wilkie after a few months
again entertained the public at the Empire,
Lang in April and May 1912, staging Much Att$ s
About Nothing, Taming of the Shrew, Hamlet,
Sweet Nell of old Drury, and Wilkie two
months after in July staging Salome (Herod-?-
Wilkie, Salome Watts), Sign of the Cross on
9th July (Marcus Superbus Wilkie, Mercia -
Watts), the Liar's, and Sir Cristophar Bearing
(Wilkie in the name-role). Mr, Wilkie showed
one or two performances from the Kohinoor
Stage also for the Bengali audience.
Lang and Wilkie appeared for the second
time after Girish Chandra was dead and how
far our new set of actors got inspiration from
them is a matter of guess. As to Mr. Lang^ a
great actor indeed, those who had no oppor-
tunity to see him on the stage, saw him times
out of number on the screen in some pictures,
the most note-worthy of which was "The Great
Defender* where his representation as the
counsel was simply superb.
Next, in 1914 Mr. Bandmann arranged per-
formance of 'A Doll's House' (Ibsen) on 3?eb %
at Theatre Royal, (Madame Dagmer appearing
in the role of Nora and Mr. Meiffre her
husband Torvald Helmer) in the presence of
Lady Carmaichael. Another popular Company
"The Charles Howitt and A, Phillips Company"
220
fa&m London and showed some per-
formanees at the Grarid Opera House opening
with "Baffles" on the 28th March 1914. Mr.
Hdwitt was the principal actor and director
a&d Miss Gertrude Godart, the principal actress.
Miss Phillips and a few others were also in the
party. Mrs. Phillips was the business-manager.
Master Phillips also had often to appear as a
young ehild. The following pieces followed
"Raffles'* No Body's daughter, Diana of
Dobsons (Miss Godart as Diana), Why Smith
t&ft Home (Smith-Howitt), East Lynne, When
Mights Were Bold (Sir Guy de. Vere-Howitt),
in Belladofta bti the farewell night April 22,
was in the main role.
Mr. Howitt's acting was restrained and was
liked by the audience. All the same whether
he could bear comparision with the famous
Bengali artists of his time, is a matter of
controversy, which we should better avoid. He
was friendly with Bengali actors specially Mr.
Amarendranath Dutfe.
%
Mr. Ilbwitt also came in 1918 and showed
Merchant of Venice, The Prince and the Beggar
Maid, Story of the Rosary etc.
Mr, Srish Chandra Bose Bar*at-t/aw and a
both in English and Bengali staged
221
his own piece "Buddha" in May 1918 at Theatre
Royal, himself being in the main role with M*.
James Herbert, the producer, as Charioteer and
Suzanne as Gopa. A few months after, on
Dec. 22, 1918, Mr. Bose's "Nala Damayanti" was
staged and on this/The Englishman* wrote,"Mr %
Bose as Nala and Suzanne as Damayanti were
exceedingly good, and both acted their parts
with great conviction."
In May 1918, Charles Harding, another
Shakespearian actor, though not of great reputa-
tion, appeared as Cardinal Wolsey on the 19th
May, Richard III on the 20th, and Shylock on
the 22nd in Calcutta.
Besides this, we have no doubt heard
of companies showing performances here, but
would only mention one of Mr, Pemberton
Willard, He showed some performances and
when he left, his brother remained in Calcutta
apparently in partnership with Mrs, Dave
Carson, wife of the comic star of India. The
present chapter would, however, remain incom-
plete, if we do not mention with pleasure the
praiseworthy endeavours of a few British
civilians of Calcutta who, for the entertainment
of, the large number of military men who have
to stay away from home to fight the enemy,
have formed themselves along with the
co-operation of the members of the Army
222
and B. A. F. into an association known
aa B. E. S. A. Bengal Entertainment
Services Association. This body, formed under
the presidency of Lady Mary Herbert, has been
arranging nine performances every week at 30,
Park Street, 'at the Lecture Hall of the St,
Xavier's College. All our readers know that
the Sansouci Theatre was situated at this place
and it has still the association of a Theatre, and
is known as the B, E, S. A. Theatre. The
Lecture Hall of the college is ideal as
a theatre which is wide enough to accommodate
about 450 persons (22 rows, each one with 20
chairs). It is a spacious hall and has been
secured from the College authorities by the
above association for the entertainment of the
soldiers who have to pay only annas 8, as entry
fee, They are allowed also each to take a com-'
panion with them, but civilians or officers have
to pay Bs. 2-8 for a seat. Major J. S. Graham is
the business manager of B. E. 8, A. and Sergt,
Newell is the house-manager.
The amateur artists who have appeared in
B, E,j3. A. performances give their time and
services entirely free, and in most cases, come"
from well-known Calcutta families.
B. E, S. A. opened on the 14th Aug. 1942
with "Besabuzzin" and has staged nearly a
(too many to &ame them) up till
now, including three pieces of Bernard ShawW*
"Candida," "The Doctor's Dilemma" and "Pyg*
malion." Attached to this are also ten touring
Companies which have travelled 15000 miles
every six months in the pasb and have given
performances in different camps and places ol
Eastern India for similar entertainment tit
members of the Army, Navy a#d Air Forces.
In 'Pygmalion' which was staged on the 7th
Aug* 1944, under the production of Ian Valen-
tine, Eichard O' Donoghue appeared as Higgfos,
Patrick Parsons as Doolittle, Jacqueline
Cunningham as Eliza, Gracia Cohane, Miliiceat
Owers, Patricia Dearden, Jae Mair, Richaird
Holmes, Paul Hanbury, Eeginald Lee and others*
Dr. Eabindra Nath Tagore's Dance-Comedy
"Balmiki Prativa" was allowed to be staged cua
the 3rd and 4th April 1944, in Bengali by tbe
students and staff of Santi Niketan.
Through the courtesy of E.N.S.A.
taioment National Services Association^
nent persons attached to the English Stage, havQ
often come to the shores of India to entertain
the members of the Services. Noted amongst
them are Mr. Stainless Stephen who appeared
with ''Whoopee" on Feb. 23, 1944, Miss Vera
Lynn on April 15, and last but not least, Mr.Noel
Coward, the actor and dramatist, a^d an out-
standing genius connected both wilh stage
224
s&reen, who appeared on July 8, and was in the
Far East for more than ten weeks. During his
stay in Calcutta, he was a guest of EL E. the
Governor of Bengal. On the 7th July he
entertained a packed house at the New Empire
with witty songs, sale-proceeds going to the
Welfare Funds.
The anniversary performance on Aug. 14,
1944 was "Besa Birthday" and the guest on the
occasion was Andy Gemmell.
Of late, B, E, S. A.'s management has merged
into E, N. S. A. and become E. N* S. A,'s chief
production centre in India and Burma. Since
the change over, a new musical comedy ''Music
Hath Charms" has been the first full E N.S.A.
production staged on October 30, 1944. It
combines talent from both organisations, inclu-
ding Beryl Templeman, Pamela Parker, Gaby
Eosine, Richard King and others. Major J. E.
Hawkins, E, N. S. A/s second in command in
India, intends also to include attempts at
classics and" hopes to form in Calcutta a semi-
permanent repertory company.
The Earl of Munster, under Secretary of
State for India who was on tour for inspection
of troops' welfare had paid also a visit to the
B. E, S. A. theatre during his stay in Calcutta
and made several enquiries about troops'
entertainment, Yvette, Ivor Owen and others
appeared in BYOYS AHOY on Nov,9, 1944, "
was the next show,
CHAPTER X.
HINDI THEATRES.
Every body knows that Hindi speaking
people are by far the largest in India and the
views of some people that it should be the
lingua franca of India are still not past. Bamlila
Shows (since the time of the poet and devotee
Tulasi Dass) which form chiefly the dialogues
between Kama, Sita and others must have given
incentives to dramatic performances to all
Hindi speaking people. Besides, Theatrical
shows (both in Urdu and Hindi) have for a long
time been arranged by various Parsee Com-
panies (not less than twenty five) of Bombay
some of which toured round the whole of India
and staged pieces in different parts. Yet it is a
wonder that Hindi Drama has not flourished
at all and even today it is still in its infancy.
Bengal which had a considerable portion of
the Hindi-knowing people in its jurisdiction
upto 1911 (Bihar and Chhqtanagpur being inclu-
ded in the presidency) arranged in 1893 a per-
formance of Bamaswamedhf (the Hindi version
of Giri&h Chandra's Sitarboiobash) on the boards
of the Star Theatre which became very popular,
29
226
Yet we do not find a real dramatist till Jaya
Sankar Prasad after the great national move-
ment of 1921 came with his dramas Kamaiaa
Natak ( in 1927 ), a symbolical play
where the author satirises the modern civilisa-
tion and Ek Ghunt. His historical dramas
Visakha, Chandragupta and Naga yagya are also
,laudable attempts, but Prasad's pieces are not
fit for the stage, they seem to be too much
lesson-giving and do not represent real feeling's
of a man. Its satire is also a bit disgusting.
All the same, Mr. Prasad stands foremost
amongst dramatists in Hindi. Mr. Govind
ballav Pant's Varamala (the wedding garland)
derived from Purana had some evidence of
stage-craft. Prem Chand's Sangram and
Karbala have not been attended with success.
l?andit Badrinath BhattaV pieces more than
Satires or farcical comedies, are poor shows and
Sribastabaji's farces breathe bad taste *. It is
hoped that the Hindi-knowing people should
have an ideal stage and with the help of real
&rtilst& of both sexes should make the stage both
A place <6f . amusement and instruction. Much
of the ideals of the nationalist leaders may be
j&opagated through a well-developed stage.
* Some h-elp has been received from MB. Sham-
sutodar Das's well-known "Hindi Literature."
227
The first Hindi performance is said to havd.
been held in 1868, but details or reality laok
confirmation. We shall however make a present
of what we have gathered from authoritative
sources. VBut we shall do injustice to Hindi
drama if we omit to mention about Babu
Haris Chandra (1850-1885) of Beneras who
wrote a number of dramas including "Haris
Chandra" in 1875, The theme narrating the
hero's extreme attachment to truth is very
popular in Bengal, too, from a long time and
Yatra performances have been shown from a
long past. Although we have no proof of this
drama being performed during the life time of
the dramatist, we have evidence that this was
a special theme for the Parsee theatres of
Bombay. Hindi versions of Prasanna Baghab-
Natak by Joybeba* and, Eamananda's Jagannath-
ballav Natak are also good dramas.
As I said before, The Parsees have made
considerable progress in the matter of improve*
ment of the stage and to them alone we should
remain grateful for performances in Urdu an4
Hindi. We have evidence that the Victoria
Parsee Opera Company showed performances in
Feb. 1882 * at the Corinthian Stage (5 Dhurmo-
tolla Calcutta), and that in 1884, the Parsi Elphin-
* Vide "Englishman" of the time.
228
stone Dramatic Club of Bombay which was
showing performances in Urdu at the same
place, staged Nala Damayanti * in Hindi at the
special request of the Bengali gentlemen in Feb.
f
In 1901, the present author had the oppor-
tunity of seeing performances in Hindi and Urdu
by both the Parsi Elphinstone Dramatic Com-
pany and the Parsi Alfred Theatrical Company
both of Bombay at Gulzerbag, Patna, and also
by the former at the old Anglo-Sanskrit School.
Both the companies had artists of both sexes but
the former had a large number of boys to dance
and some to act parts of the young folk.
Scenes were gorgeous especially in the former,
and the latter was owned by Mr. K. P. Khatao
whose Cassio in Othello in oriental garb was
interesting. Elphinstone Company showed
among other pieces "Haris Chandra" in which
drama purely Hindi words (akin to Bengali)
were used, but in Othello and other performances
Urdu words seemed to be very difficult, Mr.
Khatao was an excellent comic actor and an
English actress Miss Mary Fenton was drawn
to him for his parts and joined his party.
* Girish Chandra's "Nala Damayanti" was staged
at Dec. 15. 1883 at the Star Theatre.
229
At the Alfred Theatre
Now to Calcutta, in the same year the Parsi
Eipon Theatrical Company under the manage-
ment of Mr. Surveyor showed Kalijuga (Iron-
age), Hon-Har, also in 1904 Mansur Pasha and
Begai Bagdad and a number of performances
at the Curzon Theatre, 91 Harrison Road.
Mr. Khatao with his Alfred Company nexfc
showed performances in Calcutta, Burmah and
other places and subsequently he made Curzon
Theatre the place of his activities and was so
much identified with it, that people used to call
the place as "Alfred Theatre" after the name of
his Theatrical Company,
From 1910 and afterwards Mr. Khatao cap-
tured the imagination of the audience with
performances of Mahabharata, Bamayan, Bilwa-
mangal, Yuhudi Ki Larki, Patni Pratap,
Dhuromjoy besides playing Shakespearian pieces
in Oriental Costume. Miss Zernia used to
appear as Droupadi, Sita, Chintamoni, Harna
respectively in the first four pieces. Miss Putli
and Aga Mohomed Shah the principal actor, as
Actbria and Ezra in Yuhudi Ki Larki. Miss
Savaria was also another artist, Thus the
Khatao Company spared no pains for the Hindi
performances to the great pleasure of the
Bengalees and Hindustani people. Mahabharat
was specially written for him with use of words
purely Hindi, Wehmi Zangi (Othello) was
staged October 4, 1917.
In 1917, Mr, J. Cowasji Khatao became the
proprieter and was courteous to the Bengalis.
The present author has a personal reminiscene
how he was much obliged to Mr, Khatao for the
courtesy shown to him while a performance of
Giris's "G-rihalakshmi", was organised hy the
Bast Bengal Club of 12 Bakulbagan Eoad for
relief of the sufferers from Cyclone in 1919, in
which he (the present author) was in the leading
rule, Kumar Kanakendra in Sailen's, Eai Saheb
Haren Lahiri Msc. in Monmotha's Mr. Sham
Sankar Choudhury B. E (Berlin) Biroja and
Lalit Sen as Tarangini.
No dramatic performance worth name in
Hindustani was held after 1922,
At the Corinthian Stage
But the more popular house was the Corin-
thian Stage where Elphinstone Parsi Theatrical
Company showed performances for years.
In 1910, this company staged Jheri Sanp-
In 1912. Balliwala's Parsi Victoria Theatre
Company of Bombay came and showed some
231
performances. In Haris Chandra Balliwftla
appeared as Nakshatra, Miss Bijli as Taramati,
Miss Munni as Apsara, Miss Gulab as Kula
Kundalini, Mr. H. Tantra as Haris Chandra. In
''Santoy Aladin" staged on Jan. 18, 1913, the
night previous to the last performance, Santoy
.was played by Miss Munni, Aladia by Mr.
Peshori and Kit Kit by Miss Gulab.
Chaturberg or Mahabharata was also popular,
Mr. B. Tantra appeared as Dilsha in Diler
Dilsha. In Lailo Nahar, Balliwalla appeared as
JIhansama Ashroff.
In Dec. 1913 The Parsi Theatrical Company
of Bombay and the Elphinstone Theatrical
Company combined together and captured ima-
gination of the Bengalis ail the more by staging
Ramayana, Mahabharata, (specially written for
the Company by Pandit Nityabodha Vidyaratna
of Bengal) Srikrishna Charitra, Sati Sabitri,
Nala Damayantij Madhur Murali, Beer
Balak, Patni Pratap, Dhurbo Charit and
other pieces. Miss Gohar was the princi-
pal actress and became very popular
in all the leading female roles, supported by
Master Mohon, a comic actor and a good singer
as also by Mr, Dorabji Mehbwalla who had a
powerful voice and used to appear as
232
Mangal, Bheem, King Kans, Yama etc. Master
Mohan's Srikrishna, Nakshatra (Haris Chandra)
and Sobharam in Vir Balaka were pleasing.
But above all Miss Gohar's Droupadi, Chinta-
moni, Taramati (Haris Chandra), and Eadhika
(in Srikrishna) Lalita (Madhur Murali) were
specially interesting. She also played the parts
of Sundari in Soubhag Sundari, Akbari in Zeri
Sanp, Beatrice in Jan Armit etc.
The other artists were Kaikshrew Adjania,
Khursedji Billimoria, Euttonshah Senor and
others. Shakespeare's pieces as Hamlet, Gym-
beline, Measure for Measure etc. were also
played and a new ''Gujrati Play" Fank Do
Phitoori which had a run for over 4 years in
Bombay was also put on boards in January 4,
1914 with Miss Gohor as Gool.
In 1918, Dadabhai Sarkari enchanted the
audience with his artistic acting. Later he also
appeared in a Bengali Cinema Show (silent) of
"Profulla", appearing as Jogesh.
As I said scenes and sceneries of the Parsee
theatres were very gorgeous. Scenes for the
Elphinstone were specially designed and painted
by K. Hussain Buksh of Lahore and the great
transformation scenes in Bilwa Mangal e. g.
when Srikrishna was born from a lotus flower,
233
His advent on the horizon, but his immediate
metamorphosis to a shepherd boy, Chintamoni's
vision and Bhagirathi's sudden transformation
into a human skeleton were really enchanting.
Similar transformation scenes for the first time
in Nala Damayanti staged on Dec 22, 1918 and
also in other pieces, marked a decided improve*
ment of the Hindi Stage.
By the time these performances were ap-
proaching towards perfection, boys were no
longer in the Elphinstone. But woe now to the
Hindustani stage, no theatre is running in
Calcutta, although not less than ten Cinema
Houses are catering to people's tastes. The
number of Hindi speaking people has in-
creased to such a lengh in Calcutta that two to
three properly regulated Boards for Hindi
plays would not be quite enough now. Should
not there be such a move from people who
claim culture so that the tastes of the audience
may be more elevated day by day and real
national service be done to the country ?
30
CHAPTER XI
THE SOUTH INDIAN STAGE
THE MALABAR STAGE AND DRAMA
The Stage and Drama as they find expres-
sion in Malabar * at the present day take two
forms. One presents the characteristics that
,are generally associated with the South Indian
stage everywhere. The Stage is a raised plat-
form, specially designed and constructed for the
requirements of these performances. It is
usually a structural adjunct of public halls or
theaters and has the usual assortment of painted
decorated curtains which are drawn up as the
actors come on the stage. Music, both vocal and
instrumental, furnishes an effective background
for the speeches, declamations and actions or
gestures of the actors. The themes chosen for
representation are either striking incidents from
the livee of pouranio heroes or stories from real
life 01? more rarely skits or delineations the
actors are specially designed for and reflect, as
far as possible, the fashions and modes of the age
which the story represents. The Malabar stage
* Malabar consists of two districts of Malabar
of the Madras Presidency and Cochin and Travancore,
235
in this form of it does not either in broad out-
lines or in details of portrayal, differ substan-
tially from the South Indian stage. The only
point of deSerence perhaps is that the medium
of speech employed by the actors is Malayalam y
the language of Malabar. Women of Malabar,
freely appear on the stage, in this variety of
drama and there are no restrictions, social or
otherwise preventing or disapproving of appear-
ance of women on the stage.
2. The second form which the stage and
drama take in Malabar is truly more national,
or in other words more representative of Kerala
culture, than the one described in the previous
paragraph. This manifestiation of the Malabar
stage in what is popularly known as Kathakah,
which has now become world-famous, The
Kathakali (literally story-play) is in several res-
pects unique. Nothing quite like it exists
outside Malabar. It is not wholly correct to call
it a dumb show or a Dance-drama various situa-
tions entirely by bodily movement, gestures and
steps. It is a representation of life, as pro-
trayed in the stories of the Puranas mostly, or
in the legendary lore of the Malayalies, through
the co-ordinated agency of strides, dances, band
poses or Mudras and facial postures or gestures,
in substitution of vocal expression and muric,
236
explanatory of these actions and gestures. The
origin of Kathakali is a matter on which opi-
nions are divided. There are some who maintain
that it was a development from a variety of
drama called Ramanattam, which is said to be
a creation somewhere towards the middle of the
17th centuary A. D. by Eaja Vira Kerala
Varmah, a famous prince of Kottarakkara in
Travancore. Ramanattom, in its turn, is stated
to be a variety of Krishnanattom, a variety of
drama organised by Manaveda Raja of Calicut
in 1657 A. D. and modelled on the Gita Govind
of Jay a Deva. There are others who hold that
the Kathakali is an evolution from a mere
premitive kind of Dumb show, which was in
vogue among the Tamils, when the whole of
South India, including Malabar, was ruled by
three Tamil Dynasties, known as the Chera,
Chola and Pandya Kingdoms. In support of
their opinion they point out that dumb shows
are mentioned in Chilappathikaram (literally, the
lay of the Bracelet), a Tamil classic of this period
supposed to be written somewhere about 125
A. D. They advance other reasons too, which
it is unnecessary to refer to here, for supposing
that the Kathakali is heir to a far greater anti-
quity than is commonly ascribed to it and that
the basic form from which it developed can be
taced to the dim period when the Dravidian
237
people occupied the whole of South India and
were the possesors of a civilisation which has
excited the admiration of historians, it will
not be far wrong to suppose that the Ilathakali
has got an autochthonous element, springing
from the rural life of the country itself, its
tradition folklore.
3. One of the most outstanding characteri-
stics of the Malabar stage, as represented by
Kathakali, is that it requires no stage at all in
the proper sense in the word. It is an open air
show and all that is required is a ceremonial
oil lamp, with lighted cotton twists to supply
the light and a raised canopy supported by
poles. A moderately ornamented curtain
held in front of the lamp by two peoples at
either end screen of the entry of the actors into
the stage and is removed when the actors
emerge into the view of the audience. In the
case of the some characters elaborate rules come
into play with respect to the manner in which
the curtain has to be dealt with before removal.
The orchestra supporting the cast is of the
simplest character, but is admirably adapted to
the technique of acting. The accompaniments
consist of a 'Chenda' (a big drum), a Maddalom
Gong (also a drum of piculiar shape), a bell-
metal for keeping time, held by the vocalists, who
238
sing the set pieces in the particular composition
which is being enacted on the stage. The
dramas which are generally put on the stage are
all poetical compositions in Malay alain, with a
profuse admixture of Sanskrit, by celebrated
Malayalarn poets and play-wrights. The subject
matter of these plays is for the most part well-
known incidents from the lives of heroes and
lesser characters from the Hindu Puranas. The
plays generally begin during the early hours of
night and extend to the early hours of the
morning. The music of the songs is, as is now
universally acknowledged of a very high order
and represents Carnatic music of the purest type
free from any admixture of other types or modes
Of Indian music. The musical pieces are all
given an appropriate setting in Hindu Eajas and
are astonishingly well-attuned to the emotional
atmosphare which pervades the precise incident
portrayed.
4 The feature of Kathakali which most
appeals' to the person who sees it for the first
time is the complexity and, in spite of it, the
beauty of the facial make-up and the colourful
picturesqueness of the dress and ornaments.
The makfc-up artist goes to work on the face of
the artist much as a sculpture does on marble*
He makes of a man what he likes. He first
239
encloses the face by painting all along its
edges a 'Chutti' as it is called, which is a border
made by spreading rice paste in small edged
in a set methodical fashion. Within the face, he
then proceeds to paint, using the colours and
patterns which tradition and well established
rules laid down as appropriate to the type of
character sought to be represented, Those who
designed the colours for the facial make-up were
evidently aware of the fact that colour has
actually a physiological as well as a psycholo-
gical effect. White, for instance, was the colour
employed in the case of the personages with
characters marked by great austerity and purity.
Light, green and sometimes blue are used for
celestial and immortals and heroes and red for
unspiritual, male violent characters with easily
irritable temper such as demons and Asuras, It
is manifastly impossible to deal with the whole
range of the art of Make-up in a short article
like this. Most of the male characters wear a
head dress of some sort or other. In the case
of monarchs and Devas or Immortals, the head
dress is usually an elaborated ornamented crown
of the type usually found in the famous murals
in the Palace at Mattancheri (in Cochin) and
on the walls of some of the temples in Kerala
The female dresses are of a peculiar kind and
probably were adaptation from the early patterns
240
once extant in Kerala. The female characters
wear a veil thrown over their head but not
hiding the faces. The ladies of Kerala do not
take part in Kathakali and the female parts are
in the hands of male impersonators
5. The bodily movements accompanying
the dances and some of the gestures require
great powers of endurance and flexibility of
body. These accomplishments in the case of
the best exponents of the art are acquired only
after a protracted training, begun in early boy-
hood and lasting for a number of years. There
is a whole course of scientific physical culture
to be gone through, before the student is adjudg-
ed fit to receive training in dances and mudras.
The physical instruction is in the hands of
expert teachers who are masters in the science
of Massage. Elaborate training in Mudras or
hand-sign, employed to describe objects, emo-
tions, individuals etc.? is also an indispensible
preliminary in the case of a fully qualified actor
The basic Mudras are 64 in number and there
were a number of subsidiary or auxiliary mudras,
which are all variants of or evolutions from
these basic mudras.
6. The Kerala Kalamandalam at Cheru-
thuruthy, Cochin State opposite Shoranur
Eailway Station, owes its existence to the genius
241
and foresight of Mahakavi Vallathol, the greatest
of Malayalam Poets. It is an institution, where
instruction is imparted in Kathakali in all its
various branches. The services which the poet
and Kalamandalam have done to the great art
of Kathakali have been immense. The fame of
Kathakali is to-day transcontinental. Numerous
students from Malabar and outside have come
and stayed at Kalamandalam, and have
received training in Kathakali and its allied
arts ; and the new technique which they have
learnt have been of immense help in improving
the standard of dancing everywhere. It can be
said, with some pride that a large number of
persons are earning their livilihood through the
art they have acquired from this institution.
There was also a Dance section attached to this
institution till lately. It has not been trans-
ferred to and is functioning at the Badha
Laksmi Vilasom Fine Arts School at Trippuni-
thura near Ernakulam. Kalamandalam still
continues to receive paying students from out-
side on reasonable terms in the Kathakali
classes and its allied arts. The institution is
now under the direct management of the
Government of Cochin.
31
242
II THE TAMIL STAGE
Of the Dravidian school of thought, Tamil
language has got a drama of its own. Telegu
and Kerala have practically no drama and it is
poor in Malayalam.
Tamil drama follows the Sanskrit dramas
mainly and has a mixture of prose and poetry
and much of colloquial is also used. The drama
there is called ''Nadagam." During festivals or
within temples some light pieces or translations
from Bhavas are often acted, in which songs
and dances predominate. As the low class
people muster strong, obscenity is often taken
recourse to, to make them laugh and enjoy.
Kalidas's Sakuntala translated into Tamil
language by Eamchandra with introduction of
obscene and farcical scenes used to be read as a
drama. The drama ^Sarangcf from the pen
of the poet Manikpulla was a popular composi-
tion and was staged in 1866 at Pondichery.
The drama has resemblance to 'Puran Bhagat
Nataka' in Hindi and the story is the same as
is found in Purna Chandra of Girish.
'"Tirubarand" is another drama. Some dramas,
have been quoted by Prof. Sylvan Levi, but as
we are concerned with the modern stage, wo
need not tire the patience of readers.
243
Although like Kathakali which is prevalent
in Malabar, dances, ballads and songs are pre-
valent in Madras too, Modern stage, however has
not a proportionate development. The European
settlers who influenced the stages of Bengal
and Bombay since the middle of the eighteenth
century had a permanent stage in Madras only a
century after. The Madras dramatic society
formed in 1875, by the English, and Sangli
Theatre of Maharastra which showed some
performances in 1880 gave an impetus to
Krishnacharya of Bellary who started the first
amateur society of Southern India The Sarasa
Binodini Sabha, which staged Dasabataram.
Next came the touring Parsee (the Elphins-
tone, Alfred and BaHiwala's) companies and
staged translated pieces from Shakespeare's
dramas Othello* Measure for Measure etc. Due
to the inspiration from all these, "Museum
Theatre" was built in 1898, and 'Kanaija and
Company' was started, from which time Drama
and stage were showing some strides. For about
15 or 16 years there was some progress but the
film then made its encroachment and practically
drove theatre out of field.
Stage at Madras is not at all a developed
one. It is hoped that cultured people will pay
attention to this defect and will try to found a
regulated developed stage for the education of
the masses. Uptil now female parts are being
taken by males.
Ill TELEGU STAGE
Sanskrit Drama of ancient days did not
contribute any way to the development of the
Telegu Theatre which has developed only since
the last years of the Nineteenth century, and
it is the touring Parsee theatrical companies
only which have considerably influenced the
Telegu Stage. Before that Telegu had no
stage-play, bat shadow plays, dances country
ballads formed the only amusements.
After the Parsi companies came to the
important towns of Andhra, amateur companies
have now and again been formed and unlike
Tamil districts theatre became popular with
middle-class people. But people of culture have
a scare to be identified with professional stage.
Even th^ best actors who have made acting
their Bbtain source of living are afraid of being
classed 'professional'. * This has a tendency
* The Telagu Stage Today and Tomorrow by
K V. G. Vide Andhra University College Magazine
March, 1944.
245
to check the growth of professional theatres
like other advanced provinces.
Cinema Industry has however told seriously
upon the stage and although fifteen years ago
there had been no city or town in the Andhra
Desha which did not have a theatre of its own,
today there is hardly a town where a play
can be enacted in a theatre and for showing a
performance a party has to rent a cinema house
which with all disadvantages for theatre-shows
and without its affording a choice of date
charges Bs. 125 to Bs, 200/~ for a single perfor-
mance. Cinema has however changed the
tastes of people which have gone a great way
in improving scenes, dresses etc and intro-
ducing females on the stage. But female artists
with suitable accomplishments for the purpose
are seldom met with, although for a number of
years actresses have been playing in female
roles Men also appeared in their roles and
amongst others Sitaram Narasinha Bao and
Thola Venkateswara are still popular in femi-
nine parts.
*
As the middle class men have envinced great
interest and as <c Andhra Nataka Kala Parishat"
was founded about 15 years ago with the object
of improving the Telegu Drama and Stage, we
246
hope, ere long we shall find a well-developed
elevated stage throughout the Telegu districts.
Dramas also are being produced and Rukan-
gada Nataka with six acts by Bhagwan Das
from Bezwada in 1916, is a good drama.
IV KERALA STAGE
Kerala stage of Mysore is now making pro-
gress through the patronage of the ruling people.
CHAPTER XI
SANSKRIT DRAMAS
In the last volume we have spoken of
Shapabashanam and other dramas of Pandit
Nrityagopal Kaviratna. We have also spoken of
the performance of Sakuntala at Kotalipara.
Eegarding performance of Shapabashan at
Calcutta which was so well done, we would refer
our readers to "Bharati" of Agrahayan, 1297 B.S. :
"Style of the drama is so simple and chaste
that there is no difficulty to follow the words.
Abhimanyoo, on whose fight with seven chario-
teers is the theme based, acted his part wonder-
247
fully. Next conies Sakuni. Bheem and
Durjodhan's display of heroism was overdone.
Wailings of Judhistir, Subhbdra and others
were too jarring to ears and sometimes excited
laughter. But in the last scene Srikrishna's
serenity and grave postures while he addressed
the Pandabas was really very touching."
The students of the Sanskrit College under
the direction of Pandit Haraprasad Sastri
staged Malabikagni Mitra at the Belvedere
house of the Lt. Governor about the year 1898.
Surendra nath (afterwards Dr. S, N. Das Gupta,
Principal Sanskrit College) played the part of
Gonodas. They had a stage.
In 1901, students of Harihar College
Kotalipara staged Beni Sanhar. Biraj Sarojiui
of Pandit Haridas Sidhwantabagees (afterwards
Mohamohopadhya) was staged by students of
Kabirajpur tol in 1905, Ashutosh Boy taking
the part of Sarojini. At Bhowanipore Binapani
Samity founded in 1900 by Pandit Gispati
Kabyatirtha used to stage Uttar Ram Charita,
Mrichhakatika and other pieces from time to
time. Their performances at the Sahitya
Parishad and other places were highly spoken
of by contemporary papers. In Uttar Earn
Charita the part of Bam was done to perfection
by Pandit Gispati.
(vide Somprakas 8th June, 1907).
248
The Students' union, Bagbazar, staged Sakun-
tala in 1907, Sakuntala being performed by
Bhuban Sankhyatirtha and Dusmanta .by
Upendra Mukherjee. "Uttar Ram Charita" was
performed in the same year, the part of Laba
was marvellously done byBhudeb Bhattacharya,
Ram by Janaki Bhattacharya and Sita by
Bhubon Mohan Bhattacharya. In 1909 Harish
Chandra by Ramendra Nath Gupta was staged.
Students of Mulajore Sanskrit College also
staged dramas 'Beni Sanhar' & 'Mudra Rakshas'.
By Sanskrit Sahitya Parishat*
Mrichcha ftatika of Sudraka was staged, first
on July 17, 1916 at Manomohon Theatre and
subsequently in other theatres and also at the
Kassimbazar Raj house under the direction of
Pandit Gispati Kabyatirtha who had already
achieved renown as director of Binapani Natya
Samity. Pandit Kalipada Bhattacharya took the
part of Charu Datta, Nagendra Byakarantirtha
Basanta Sena, Janakinath Kabyatirtha Shakar,
Khefcronath Bhattacharya Bidushaka and
Pandit Durga Mohan Sankhyatirtha as Aryaka.
Under the direction of Pandit Gishpati who
was practically the guiding spirit, Bishakha-
datt's Mudra Rakshas (with Janaki Kabyatirtha
249
as Chanakya and Durga Mohan Sankliyatirtha
M, A. as Chandra Gupta) was staged in Oot,
1917, and also on subsequent occasions. Kshem-
eswar's Chanda Kousik in 1918 with Gishpati
Kabyatirtha as Harish Chandra, Janoki Kabya-
tirtha as Biswamitra and Kasiswar Kabya
Vedantatirtha as Saibya was appreciated.
Performance was done in dresses which
would suit the occasion, time and the particular
place. Dr. Suniti Chatterjee took a prominent
part in the conception of dresses. It now hit the
public theatres also to follow this practice,
Parishat also staged Kalidas's "Sakuntala"
in Oct. 1918 at Monomohon, at Star, at the
Government House at the invitation of H. E.
Lord Lytton, and also during the reception
of Calcutta's Mayor Mr. Subhas Chandra
Bose at the Parishat House in October, 1930.
Pandit Gishpati took the part of Dusmanta,
Kalipada B hattacharya Kanwa, Nakuleswar
Bhattacharya Sakuntala, and Janaki Kabya-
tirtha Bidushaka .
Sriharsa's 'Naganonda? was staged in 1920 at
Monomohan, Beni Sanhar in 1921 with Gispati
Kabyatirtha as Bheem, Madhyama Byaoga in
July 1919 with Kajendra Bhattacharya as
Madhyama, Janaki Kabyatirtha as Ghatotkocha,
250
Dutabakya in 1921 with Janaki Kabyatirtha
as Durjodhan, Chandra Bhattacharya as Sakuni,
Duta Ghototkacha and Urubhanga with Gish-
pati Kabyatirtha as Dhritarastra in both,
Bala Charit was staged at the Calcutta
University Institute in July 1924 and Pratima
Natak at the Star Theatre in 1922. Pandit
Janakinath Kabyatirtha appeared as Kangsha
in the former and Eavan in the latter, Eajendra
Bhattacharya Krishna in the former and Sita
in the latter. The last five pieces as well as
Pancharatram y Urubhanga are Bhasa's dramas,
and were staged eeveral times.
During the 13th anniversary of Parishat
b01d at the Calcutta University Institute in
1929 (Aswin 1336 B. S.) under the presidency
of Sir^S. Eadhakrishnan, Jarjara festival com-
menced with the performance. It was intro-
duced by Pandit Asokanath Sastri Vedanta-
tirtha M.A., P.E.S. who has since then officiated
as the priest on all occasions. He appeared as
Sutradhar in all the performances and did well
as Judhistira in Pancharatram, Sarngaraba in
Sakuntalaand alsoas Aryaka in Mrichchakatika.
Pandit Janaki Kabyatirtha was a talented
actor, Chandra Mohan Bhattacharya a comio
eotor Prof, Durga Bhattacharya versed in
251
Kabya, Sankhya and Puran of the Scottish
Churchs College is also a good actor. He appear-
ed as Bharata in Pratima and Chandra Gupta
in Mudra Kakshasha
Mahamohopadya Kalipada Tarkacharya,
Professor Nyaya, Sanskrit College is a dramatist
and good actor. His Charu ])utta as Dusmanta
and also as Kanawa (sometimes) were good.
The staging of Sanskrit dramas shows the
culture of the Bengalis who do not seem to have
lost the traditions of their forefathers, learning,
scholarship and erudition.
CHAPTER XIII
RAB1NDRANATH OiN THE STAGE.
We have described in vols I and II how
Prince Dwaraknath Tagore was a great patron
of the Chowringee Theatre, how in Jorasanko
Theatre at the house of his son Devendra Nath
Tagore (Maharshi) Navanatak and some of the
pieces were staged by his grandsons etc. and how
his house can proudly boast of a number of artists
who occupy a place in world's history. We have
also in the last pages given an account how
Jyotrindra Nath's and Eabindra Nath's dramas
have been staged in various theatres of Calcutta.
We shall in this chapter give an account of
Babindranath alone as on stage, both public and
private, including performances by members of
the house under his direction. The first appear-
ance of Rabindranath on the stage was in 1880,
Feb, in a small role in "Manamayee" of Jyotirin-
dra Nath. But henceforward he used to appear
in his own dramas only.
In February 26, 1881 (Falgoon 11, 1234 B.S.)
"Balmiki Prativcf was staged at the Jora-
sanko House before a large number of respect-
able people amongst whom Bankim Chandra
Chatterjee the greatest litterateur, Bengal, Indra
Nath Baner jee, Akshoy Sarkar, Sitanath Tattwa-
bhusan were prominent. It is the earliest drama
of Rabindra Nath and he was in the role of
Balmiki. Prativa a daughter of Hemendia
Nath Tagore acted wounderfully, first as a girl
and then as Saraswati. Her first * song as girl
"Balika", from the stage runs as follows :
"What a dreary forest
How thickening clouds,
How dark the night,
A girl, alone, my heart trembles !"
* Arya Darehan, Baisakh 1288.
263
Akshoy Chowdhury took the role of first robber,
Abanindra and Arunendra appeared as boys.
Prativa became afterwards Lady Chowdhury,
wife of Sir Asutosh Chowdhury.
After the performance, the invited guests
were entertained in a feast, t
"Kala Mrigaya" was staged at the same
place on Dec. 23, 1882 when the poet appeared
as blind recluse ^RR^fl (main role).
In 1888, Mayar Khela written by the poet at
the special request of Mrs. P.K. Eoy was staged
by the Sakhi Samiti at the Bethune College. -
This was repeated many times and on 17-8-29
was staged at the Empire Theatre under the
direction of Srimati Sarala Devi and Mrs.
Eathindra Nath Tagore (Pratima Devi), Mrs,
S. B. Dutt as Amar and Sm. Amiya Eoy as
Promoda acted theirs parts well. So did Sati
Dasi as Santra and Nilima Gupta as Asoka.
The dances also formed a salient feature of the
play and Sm, Eeba Eoy's and Chitra's move-
ments were very delightful.
This was also staged in English in 1923 under
the direction of Babu Dinendra Nath Tagoie
and last it was played at the Chhaya Theatre
t Reminiscences of Sitanatb Tatwabhusan.
254
on June 16, 17, 18 (1943) under the direction of
Sm. Indira Devi Chowdhurany (Mrs. P. Chow-
dhury) by the students of "Geeta Bithan."
In 1889 "Raja O Rant' was staged at the
house of Mr. Satyendra Nath Tagore at 49, Park
Street, Eabindra Nath taking the part of
Bikramadeva.
In 1880, 'Bisharjarf was staged at Jorasan-
ko and when staged at Park Street, in the
presence of Maharaja Bir Chandra Manikya,
poet took the part of Raghupati.
Bisharjan was repeated in August 25, 1923,
at the Old Empire, when the poet then 62, took
the part of Joysinha, Eabindranath could not
be recognised either in make-up or in voice.
Kaghupati was acted by Dinendranath, Govinda
Manikya by Eathindranath, Eani Gunabati by
Sangya Devi (Mrs. Surendra Nath Tagore),
Aparna by her daughter Monjusree, Nakshatra
Manikya by Tapan Chatterjee, Noyan Eoy by
Kshitish Chatterjee and Chandpal by Asoka
Chatterjee, (see also page 256 below)
Mr. Abanindra was in charge of make-up
and dressing.
In 1897, Baikunther Khata was staged at
Jorasanko, the part of Kedar being taken by
the author, Baikuntha by Gaganendra Tagore.
255
1908 Sept. Sarodotshob at Santi Niketan.
Poet took the parb of Sannyasi. This was the
first time Rabindranath appeared at the Asram
1909 Mukut was staged at Santi Niketan.
1909 Oct. Prayaschitta
Poet took the part of Dhanonjoy Bairagi.
May 7, 1911. "Raja" staged with ttabindra*
nath as Thakurda, and also as Raja from behind
the dock-chamber. In April 1914, Achalayatana
was staged during the reception of Mr. Andrews,
poet appearing as Acharya Adinpunya, Mr.
Pearson also took a part.
Easter 1915, Phalgooni was staged at Asram
with poet taking the part of Andha Baool
supported by Jagadananda Roy as Dada,
Kshiti Mohon Sen as Chandrahash, Probhat
Mukherjee Sardar, Sarat Kumar Roy Majhi,
Kalidas Bose Kotal, Santosh Mitra Kalu. The
stage-decoration was in the hands of the great
artist Abanindranath. Before the play began
the poet was also Kabisekhar in the prologue,
January, 1916 Phalgooni and Bairagya-
Sadhan together, was staged as Asram. Poet,
first appeared as Kabisekhar and afterwards
also came in his part of blind Baool.
July 1917 "Dakghar" was staged at the
Asram, Stage decoration and dresses suited
the occasion.
256
It was also repeated many times, even at
"Vichitra" at Jorasanko,
March 1918. Guru was staged at Asram.
Sept, 15, 1922. Saradotshab at Alfred Theatre,
Eabindranath appeared as Sannyasi Dinen
Babu Thakurda, Jagadananda Koy Laksmi-
swar. Next day too he appeared at "Madan."
August 25, 1923. Btsharjan at Old Empire
as stated before in page 254, when Natyacharya
Amrita Bose who was present spoke highly of
the performance. The "Bengalee" of August 26,
1923, also writes about it :
"The house was packed to its utmost capacity and
the audience which included the pick of the society
saw the play through with great interest. Babindra
Nath's appearance in the role of Joy Singh was the
special feature of the attraction of the evening. The
amount of pathos, human element and originality
which the poet imparted into the acting was really a
treat and could have hardly been surpassed in its
excellence. Dinen Tagore as Eaghupati (priest) gave
an excellent account of himself and came in for a
large share of applause. The part of Aparna which
was beautifully rendered by Miss Manju Tagore is
specially noticeable for the grace and natural charm
of acting on her part. Mr. Tapan Chatrerjee as Jew-
raj and Mr,-3. Suren Tagore as Rani did full justice to
their parts. Another feature of the play was the
songs by Mrs. Sahana Bose who kept the house spell-
bound by her beautiful voice. Comic interlude was
also not wanting. The play was a great success."
257
1926 on May 8, during the 65th anniversary
of the poet Nateerpuja * was staged at the
Santi Niketan, no part being taken by him,
but when it was repeated in Jan. 28, 29, 31 at
his Calcutta house in 1927 t, the poet himself
took the part of Bhikshoo Upali, Sm. Gouri
(daughter of Babu Nandalal Bose) as Srimati,
Minoo of Rani Lokeswari, Chitra of Bashobi,
Latika of Ratnabali and Amita of Rakshird.
Srimati's songs and dances were very beauti-
fully artistically done.
On 1927, March Nataraj was staged at Santi
Niketan and on Jan. 8, 1929, Sundar at Jora-
sanko.
April 29, 1929, Bhairoberbali was staged
at the Empire Theatre by the members of the
Tagore family with the cast
Bikramdev Kshitishprosad Chafrterjee,
Sumitra Monjusree Devi, Debdutt Kunal
Sen, Narayoni Mrs. Sen, Ela Aparna Tagore,
Sankar^ Eanakendra Tagore.
* Taken from Kabindranath's poem "Pujarini"
published in Aswin 1306.
t Repeated after poet's death oa June 2&, 1943 at
Globe Theatre under production of Nandita Devi,
who appears as Sreemati, Sujata Mukherjee as
Lokeswari, Konika Mukherjee as princess Batna-
bali, Suchitra Mukherjee Bashabi, Suparna, Mukherjee
Utpalbarna.
33
258
On Sept. 26, 28, 29 Tapati was staged at
Jorasanko after poet's return from Canada, for
four days with the cast :
Bikramdev Rabindranath, Debdatta
Dinendra Tagore, Rani Sumitra Amita Devi
(Mrs. Ajinendra and daughter of Babu Ajit
Chakrabarty), Bipasha Sumitra Devi, Kalindi
Nirupama Devi.
Rama Devi and Amita Sen sang
"Pralay Nachon, Nachle Jakhan,
Apan bhule, he Nataraj"
Besides the above representations Rabindra
Nath, often appeared on the stage to enact
recitation-performances, the following being
worth mentioning,
Aug 16, 1922. Barshamangal at Madan Theatre
19, .. at Alfred
Sepr 14, 1924 Arupratan at Alfred
He recited the whole drama. Next was done
silent and dance abhinay by girls. Sept 12 1933.
Tasherdesh and Chandalika at Madan Theatre.
In 1935, on Dec, 11. he appeared when aged
72, as Thakurda in Raja in Calcutta residence.
In 1936 he left for Patna, Allahabad, Lahore
and Delhi with a party to raise money for
Viswsbharati by showing performances. The
259
last recitation performances were at Chhaya
Theatre on March 19, 1938 and at Sree on Feb.
4, 1939 when amongst other pieces Chandalika
was recited at both.
As we said, performances used always to be
held at the yard of the Jorasanko house, a
portion being set apart for the stage.
Further, if one proceeds to the Jorasanko house,
the red-coloured house to the left called the
.Vichitra Bhaban where the Viswabharati
office is now located, will also be found still
to contain traces of a stage sufficient for 200
persons to witness. The house opposite to it
to the south was the Nachghar where dances
used to be practised by the members of the
house.
N. B, Besides newspapers and Magazines, I have
been greatly helped in this Chapter by Babu Monindra
Bhusan Gupta, IJabu Probha'ti Kumar Mukerjee's bio-
grapy of the poet, Probhat Chandra Gupta's article
and Sita Devi's article in Geetabithan Barshiki
(1st year) edited by Mr. Gupta and also by Babus
Pulin Sen, Benode Chandra Chowdhory and others at
Viswabharati Office.
CHAPTER XIV
FAMOUS AMATEUR THEATRICALS
Amateur Theatricals are the nurseries of
public theatres in Bengal. We have seen in
Vol. II how private artists were men of great
wealth and high culture. Even Girish Chandra
the Father of the Stage was an actor of the
Bagbazar Amateur Theatre. 'Indian Dramatic
Club' produced Amarendranath Dutta. Sham-
pukur Dramatic Club Aparesh Mukherjee, even
Babus Tincowree Chakrabarty and Sisir Bhaduri,
Naresh Mitra and Badhikananda Mukherjee
were artists at first of some Amateur Clubs.
Calcutta abounded with many and we shall
name a few only here.
The Calcutta Sangit Sarnaj was a well-
known club of which Babus Nibaran Dutt,
Charuchandra Mitra, Amar. Bose (son of Babu
Pashupati Bose) were good artists. At a later
stage Babu Badhikananda Mukerjee also joined
it. Nutu Babu and Aswini Babu used to tak e
female parts. Babu Tincouree Chakravarty,
Bhujanga Bhusan Boy and others were members
261
of the Bhowanipore Club, who staged Kapal-
kundala Biraha and other pieces, Tincouri Babu,
Bhujanga Boy, Ahin Chowdhury, Indu Mukerji
(a well-known actor) were also members of a
Yatra party Bhowanipore Bandhab Samaj.
Chorebagan Friends' Dramatic Club used to
stage Pandab G-ourab and other performances.
Babu Bhupen Banerjee (dramatist) Bholanath
Roy, advocate Paresh Sen and others were
members and used -to appear in different roles.
Babus Sisir Kumar Bhaduri, Lalit Lahiri
Nirmalendu Lahiri, Bai Bahadhoor Probhat
Kumar Mukerjee and a few others were mem-
bers of the Old club which staged dramas of
Mr. D, L. Eoy including Bheesma.
Babu Sisir Bhaduri and Naresh Mifcra were
successful artists of the Calcutta University Ins-
titute which staged Chandra Gupta, Punarjanma
and other pieces with success and brought the
artists, specially Bhaduri to lime light.
The Institute however staged performances
even during the 19th Century and a brief
history of its rise and progress will not be out
of place.
Calcutta University Institute
5?fae Calcutta University Institute (Society
for the Higher Training of Youngmen, as it was
62
called), was first located at the hall on the east
side of the Sanskrit College and performances
by the junior members (composed of students of
different colleges) used to be held. Michael's
"Meghnadbadh" in an abridged form was per-
formed in a miniature stage with success on
Jun. 27, 1899 under the supervision of Pandit
Haraprasad Sastri. Nagendra Choudhury of
Hariraj fame used to train actors. Mr C. E.
Wilson (afterwares Principal, Patna College),
secretary to the Institute used to help the mem-
bers in every way. Mr. Khetro Mohan Muker-
jee, Prasanna Kumar Ghosal, Dwaraka Mukerjee
Kiran Chandra Dutta and Sirish Chandra
appearing respectively as Ravana, Laksman,
Meghnad, Bam and Promila.
In the second performance of the same
drama held on Feb. 16, 1899, Sir John Wood-
burn Lt. Governor of Bengal wast he chief guest
He was so much pleased with the performance
on March 4, 1900, that he gave an u At Home"
to the members as a mark of appreciation,
Something very interesting occured in the
second performance. When Mr. Kiran Ch. Dutt
appearing as Ramchandra was offering prayers
to the Devine Mother for the safety of Lakshan
previous to handing over to Bibhisan for escart-
263
ing him to the arena of war, Sir John enquired,
whether the prince of Ajodhdya was in prayers.
On the reply being given by Pandit Sastri in the
affirmative Lt, Governor stood up in a prayerful
mood, and in the twinkling of an eye the whole
body of guests numbering 400 stood up in the
same mood.
All the papers commencing from Statesman,
spoke highly in appreciation of the performance
and we quote here only one for our readers :
The Indian Mirror Sunday E'ebruary 19th 1899.
A correspondent (Mr, Amiya Nath Mukherjee a 3rd
year student of the Presidency College and a mem-
ber of the Institute at present a solicitor of the
Calcutta High Court) writes :
"The dramatic version of Michael's Meghnathbadh
was repeated by the junior members of the Calcutta
University Institute at the special desire, and in the
presence of his Honour the Lt. Governor of Bengal
on Thursday last. The Hall of the Institute was
crowded, and among those present were Maharaja
Sir Jatindra Mohan Tagore, Mr. Gayer, Private
Secretary to His Honour Lt. Governor, Hon'ble Justice
Gurudas Banerjee. Dr. Mahendra Lai Sarkar, Bai
Lalmadhab Mukherjee Bahadur, Mahamohopadhya
Haraprasad Sastri Mahaijaahopadhay Nilmoni Naya-
lankara, Pandit Hurrish Chandra Kaviratna, Messrs
C. R. Wilson, J.N. Das Gupta, P. Mitter, Barrister-at-
Law, B, M. Chatterjee Barrister-at-law, Babus P. 0.
I$ :L
264
Mazamdra ( Bevd. Protap Chandra Mazumdar )
Benoyendra Nath Sen, S. S. Banerjee Attorney-at-law
J. N. Mukherje Attorney-at-law^ Nagendra Nath
Chowdhury and others. The performance was a great
success. As usual, Babu Kiran Chandra Dutt of the
Presidency College acted the part of Rama admirably
well, and carried the audience along with him, The
parts of Meghnad and Prainila were also well sus-
tained. The minor parts were also well done, and the
piece never flagged in interest from start to finish.
The incidental music was tuneful and the scenery
pretty.
His Honour was highly pleased with the perfor-
mance and invited the members of Institue to entertain
them at Belevedare on Saturday the 4th March, next."
Mr. Butt was a well-known actor. Later
his Arjuna in poet Nabin Sen's Kurukhestra
staged under the auspices of Sahitya Parishad
Was also appreciated by the audience. His
recitation also is very good. He is the President
of Girish Parishad which staged "Balidan" very
successfully during the Girish Centenary.
In the second year in 1900 Shakespeare's
Macbeth was performed with Mr. Dutt as
Macduff, and Jnanendra Bose as Macbeth.
Since then up to 1907> performances were
generally done in English. In one performance
probably in 1907 or 1906 when Lu G. Sir
265
Andrew Fraser graced the occasion with his
presence, an interesting incident oooured.
After the conspirators stabbed Julius Ceaser
in Act III, Scene I, Ginna, one of them and
a poet had the following words in his cue
"Liberty ! Freedom ! Tyranny is dead !"
but the actor forgot the words Goaded by
prompter and others he suddenly cried out those
words. This however produced so great an
effect on x;he audience especially Sir Andrew
that he declared a gold medal for him express-
ing that the delay after seeing the blood of
Ceaser was very natural with the poet.
About the year 1908, Pandit Sastri gave to
the Institute the stage of the Sanskrit College
where Malabikagnimitra and other pieces were
performed (vide page 247) and after that
Bengali plays used to be enacted and the Insti-
tute was the making of the coming Sisir
Bbaduri. He did not however take any part
in 1908 when 'Raja Rani' was staged, as the
part of Rebati was offered him.
In 1909, Kurukshetra as dramatised by Prof.
Monmotha Bose who used to train the actors,
was staged with Sisir Bhaduri as Abhimanyoo,
Mr. Phani Bose as Kama and Mr. Naresh Mitra
as Durbasha.
34
266
In 1910, Buddhadev (of Girish Ghosh) was
staged, Sisir Babu appearing as Buddha, Mr,
Phani Gopal Bose as Suddhodon and Mr, Srish
Chakrabarty M.L C. as Chhandak.
In 1911, Girish Chandra's Jana was per-
formed with Sisir Babu as Prabir, Rai Bahadur,
Eaghobendra Banerjee (S. P. Howrah as
Sri Krishna, Jnanapriya Mitra Vidusaka, Srish
Babu Brishaketu and Mr. Kanti Mukherjee
(afterwards official Receiver, High Court) Jana.
The progressive feature was that dresses and
arms were used as much as possible suiting the
period, and the occasion. Babu Suniti
'Chatterjee (afterwards Dr,) was in charge of this
important feature.
In 1912, 'Chandra Gupta' which raised Sisir
to lime light and was the stepping stone to his
subsequent fame as Chanakya, was staged wifh
Naresh Mitra as Katyaon, Indu Kanti Bose
as Chandragupta, Srish Chakrabarty as
Chandraketu, Biren Das Gupta as Alexander and
Dwijen Roy as Chhaya, Conception of dresses
was left as usual with Dr. Chatterjee. Members
determined that performance of Chandra
Gupta would not be seen on the stage before
they would appear, but of all others Mr, Bhaduri
267
broke the vow, * The dramatist Mr. D. tu
Boy was very much pleased with the perfor-
mance. In 1913, the present author had an
occasion to see the performance held in honour
of the delegates of the Sahitya Sanmiloni.
In 'Banjabati' staged in 1913, Sisir was a
spectator but in 1914 he appeared as Parsuram
in Kshirode Babu's Bhisma He was then a
professor of a college, and the gentleman who
was selected for the part was not upto mark.
The Institute was also the making of the
coming batch of leading actors of the Bengali
Stage. Later, Babu Babindra Mohon Boy also
acted a part in Panda va Gouraba.
Discipline of -the Institute was exemplary.
Sir Gurudas Banerjee Ex-judge, a saintly
character, was in charge of selection of pieces
and Prof. Benoyendra Nath Sen the Secretary.
Sir Gurudas did not even pass "Sadhabar Eka-
dashi." On one occasion he doubted if some
artists were tipsy while playing Punarjanma, t
and he was so much enraged that he threatened
* 'Batayon' Sept. 20, 1935 p. 10 article by Mr. Srish
Chakrabarty, M.L.G. Srish Babu wrote a number
of articles on the subject in the same paper.
t Jadab Naresh Mitra, His wife Bhaduri, Srish
Chatterjee architect had also a part.
268
suspension of performances. Uai Bahadoor
Khagendra Nath Mifcra was then the Secretary.
Besides the above, other important associa-
tions were the Kalighat Sangit Sarnaj, Calcutta
Unique Club, The East Bengal Club, The
Kalighat Club, The Lawyers' Dramatic Associa-
tion, Alipore, The Shanagore Institute noted
for holding performances. Prafulla and Para-
parey of San git Samaj (with Hari Mukherjee,
Kisto Mukerjee), Unique Club's Balidan with
Kanai Chatterjee & Nilmadhab Banerjee, were
successful, but the most prominent in South
Calcutta was the "East Bengal Club" (with
Nawab Samsul Huda, Messrs. C R. Das, Karuna
Dutt Gupta, N. C. Sen, S N. Haider, J. 0. Das
Gupta, Gunes Sen and others) where Girish
Chandra's 'Grihalakshmi' was staged with
marvellous skill by the actors. Kalighat Club's
Profulla Balidan, Pathersheshe and Poshyaputra
wer6 also very successful. Similar were the
performances of Pathershehe in Shanagore
Club. In ail these associations the present
author used to be in the main role. But
equally successfully did the * lawyers of Alipore
with Bai Bahadoor Nagendra . Nath Bau<erjee>
Public Prosecutor, as president and I the present
author dramatic director, stage Pathersheshe and
Poshyaputra with masterly skill, & 'the Patrifcft' &
969
Nanchghar were eulogistic about the performan-
ces. In the last piece the cast was as follows :
Shyama Kanta (present author) Bajani
Pankoj Gangolee M,A.,B-L. Public Prosecutor,
Alipore. Baikuntha Dhiren Chakraborty B.L.
Binode Hiren Mitra M.A., B.L. (son of Mr,
Hemendra Mitra), Hemendra--Naren Mukerjee
B. L. Nanda-r-Surja Mukerjee B, L, Fatik
Sudhansu Das Gupta B. L. Bepin Monoj
Dutt, B. L, Jogesh Fakir Chakraborty B. L,
Sidhweswri Gouri Sankar Mukerjee M.A,, B.L.
(now Sub Judge). Sibani Haridhone Mukerjee
M.A., B.L. Santi Biswanath Chatterjee B.L.
Harimati Amar Mukerjee, M.A. B.L. Haraneer
Ma Amulla Bhaduri B.L. Secretary Mr. Biren
Nag B.L., Jogen Probhanshu Ghosal M.A.B.L.
As to the performance we quote below the
observations of Amritabazar Patrika Dated
Dec. 29-1932.
"It was a great treat to the distinguished audience
who mustered strong on Thursday last to see the
drama of "Poshyaputra" enacted by the lawyers of
Alipur at the Calcutta University Institute. The hall
was packed to its utmost capacity by more than 800
ladies and gentlemen. The parts were so admirably
acquitted by the performers that the decided verdict
of fchfc whole assemblage was that the performance
was an unqualified
270
"The leading 'role* of Shyamakanta was taken by
Babu Hemendra Nath Das Gupta, the well-known
litterateur and the author of 'Girish Prativa' and
'Deshabandhu Sinriti' whose representation was so
masterly that we cannot conceive of a better perfor-
mance by any ordinary tragic actor. He fully repre-
sented all the conflicting feelings anger, affection,
remorse and grief and the acting was very natural.
The scene where he fell fainting on the news of his
son having been run over by a train and the climax
scene where the son of Binode was recovered, drew
continued applause from the house. He infused such
pathos into his part that few could restrain them-
selves from shedding tears.
"Shyamakanta was very ably supported by Baikun-
tha, Kajani and Benode. They all contributed to
the success of the play by their natural acting. Patik
by his oriental dance and Nando by his serio-comic
expresion were very interesting and two pick-pockets
did excellently well and songs of Pagal amused the
audience very much.
"Of the female parts who deserve special mention
Sidheswari and Shibani and Santi did marvellously
well. Their rendering of the parts was very artistic
and the dance by Mr. Amar Mukherjee, another bud-
ding author was something novel. Amulya and
Sukumar were excellently shown by two urchins, one
aged 3 and an other 10 years."
The above Dramatic Club also staged
Mahanisha* Datta, Grihadaha, Pandit Mahasay
rendered into dramas by the members.
271
But the well-known Club 'Ananda Parishad*
of Bowba^ar deserves special mention. Mr, Lak-
shminarain Mitra was the guiding spirit. He
rendered, before others attempted, Sarat
Chandra's novels into dramas Chandranath,
Debdas, Charitraheen, Grihadaha & In Grihadaha
which we saw acted at the Alfred theatre in
1926 with success, Mitter was in the role of
Suresh, Keshabdeb Mrinal, Tarak Mukherjee
Achala, All the artists did well.
The Youngsters also are not backward.
The Bijoli Sangha staged 'Kedar Roy' success-
fully several times with Master Sunil Das
Gupta (author's third son) in the main role,
Chittatosh Chatterjee as Srimanta, Bireswar
Mukherjee Karvalla, Balai Bhanja as Kaloo
and Jatindra, author's second son (a good writer)
as Mansingh. Sunil Das Gupta also appeared
in this role at the Ashutosh College during
the Silver Jubilee celebration. Young Das
Gupta has a good voice and is now working in
the dramatic section of the All India Radio.
'Sanibarer Baithok' also shows performances,
with Protap Chandra as an artist.
The Evening Club, Calcutta an old club was
also noted for showing performances. Babu
Haridas Chatterjee was one of the artists there.
Sisir Kumar Institute, Baghbazar, shows original
pieces now and again
CHAPTER XV
THE REFORMED THEATRE.
The theatre is itself a reformed institution
as the Germans most appropriately call it
"A Lay Pulpit". Art can not be the monopoly
of a particular section of the people only, to the
exclusion of others whose devotion to it like
that of the original performers of Chaitanya,
and Jana, Bezia and Peara is exemplary.
Now to make theatre a so-called reformed
one, a few gentlemen of Bhowanipore floated
a limited company and called up shares in 1917.
Their object was to introduce respectable ladies
into the stage and eliminate public women
from it altogether. Mr. Dhirendra Nath Mitter
was the sponsor of the movement and he put
his short skit Matfaroka on boards of Theatre
Royal, on June 23, 1918, with Miss Patience
Cooper, himself taking the part Jharegwar.
The project fell through, and the Syndicate
proved to be still-born.
Ten or twelve years after this, Kumar Gopika-
raman Boy arranged performances of Singhal
373
Bijoy and Mogal Prativa in which B&oi
Suruohibala, Kumari Gouri and others took
parts Rani appearing as Kubeni and young
Akbar. The attempt of the Kumar was very
short-lived.
But a more lasting institution grew i^p
under the direction of Mr, Madhu Bose in
1931-32 when a few ladies of some anglicised
families with some artists started "Calcutta Art
Players" (C.A.P.) which arranged some perfor-
mances for a few years. The central figure in the
party was Mrs. Sadhana Bose, grand daughter of
the great Keshab Ch. Sen, She was assisted by
other ladies Indira Boy, Meera Haider, Nilima
Sen and others.
They first staged Kshirode Prasad's Alibaba,
the part of Marjina being played by SadhoBft
and Abdalla :by Madbu Bose, both with artistic
skill. They also staged Abu Hossain. Then on
{Feb. 16, 1933, Babindranath's 'Dalia' was staged
at the Empire Theatre in his presence and with
bis help. Priti Mozumdar was in the role
of fisherman, Kalyan Mozumdar Bahamat
Sheikh, Meera Haldar Julekha, Nilima Sen
fisherman's daughter and last not the least
Madhu Bose played the part of 'Dalia 1 and
<6adhona of Ameena.
l ln 1933 another company staged Monmatha
3$
2,74
Boy's 'Asoka* on Dec, 2, and "Konka-Lila" at
the University Institute with Amala Nandi,
Sefali Mozumdar &c.
"Mandire" 6f Souren Mukerjee was put on
boards on 7-4-36 and then Mr. Manmatha Boy's
services were secured as dramatist. Mr. Boy
recast his Sabitri for C. A. P. and Sadhana did
equally well in, the serious part of the heroine.
Miss Manjoo De (daughter of Mr. J. De I.C.S.)
appeared as Saraswati.
In September, Mr. Ahin Choudhury's services
were requisitioned for the company and Mr,
Boy's "Vidyootparna" fitted with songs of Omar
Khaiyam was put on boards at the First Empire
on Dec, 8, 36 with Mr. Choudhury as Mohanta,
Kali Ghose as Baja, Madhu Bose as Indrajit,
Bibhuti Gangulee as Bhadra Bhat, Monju De
as Manjari and Sadhona Bose in the -role of the
name-heroine. Mrs. Bose acted and danced
well and Mr. Choudhury too did justice to his
part. Sales were very satisfactory.
'Bajnati' staged in Jan. 1937 was attended
with success both on the stage and screen, *
(Beng. Eng and- Hindi), Mrs. Bose appearing
in the role of Madhuchchhonda.
* It was played on the screen as Eajnati in
Bengalee, Raj Narbaki in Hindi and 'Court Dancer' iti
English. This was the first talkie made in India by
Wadia Movie Distributors, Columbia Pictures.
275
Towards the close of 1938, Mr, Boy's
Rupkatha was staged with Alain Babu as Jaksha,
Sadhana as princess and Priti Mozumdar as
prince, Sefali De as Mukta
After this the party was disbanded for
reasons best known to the organisers.
Two other associations may be worth-men-
tioning. Mr. Bhudhadeb Bose, a reputed writer
in Bengalee arranged performances of <fc Maya
Malancha" in Feb. and March 1944 from his Kalo
Haua Mrs. Bose, Mr. Bamkrishna Boy Chou-
dury, Mr. Probhat Mukherjee were the artists.
The last gentleman's part was goodas Mr.
0* C. Gangulee repored.
Some time ago u Gana Natya Sangha" has
been formed which recently staged ''Jaban-
bandi" by Bijan Bhattacharya on July 10, 44
at Sri Bangam for the relief of Cbittagong
sufferers. Their object seemed to be laudable
to impart education to masses through music,
dance and dramatic performance, but we would
like to hear more of them. Paran Mondal was
represented by Mr. Gangapada Bose, his son
Benda by the author, his wife by Tripti Bhaduri.
Hashi by Bibha Devi etc.
"Natya Sree" has also been formed by Mr*
Dwijen Sanyal and some ladies Their last
performance was Diganta on Aug. 28, 1944.
XVI
THE EAST BENGAL STAGE.
In 1861, Nildarpan was staged at Dacca in
presence of its author Babu Dinabandhu Mitra
under the auspices of East Bengal Dramatic
Glub consisting of a few middle-class men and
soon after a permanent stage was built at a
place, where the Jagannath College now stands,
in the portion just to the north of the East
Bengal Brahmo Mandir. It is here that Eama-
bhishek Natak was staged on March 30, 1872,
before the National Theatre became public at
Calcutta. The beginning was very happy no
doubt, but Dacca did not prove an exception to
the quality of its name. It has lagged behind
in theatrical pursuits and at present there is no
permanent house there. There is thus very
little to record under this heading.
The National Theatre of Calcutta however
in 1873, 1874, 1879 and the Star Theatre in
1888, showed some performancen in the above
TEeatre Hall, in charge of a body consisting of
Babus Abboy Charan Das, Mohini Mohan Das,
277
Motital Chakraberty, Mohesh Gangnlee Bam
Ghakravarty and others.
Besides the above, private parties also gave
performances from time to time, Babu Paresh
Nath Ghose, (the great wrestler and Teacher)
and his friends formed a party. Their plays
were generally borrowed from Calcutta Theaters.
Babu Harish Chandra Mitra made some
original compositions which were staged by
amateur parties (Pralhad, Janaki Natak &c)
In 1881, "Nawabpur Amateur Theatre Com-
pany" was formed with Pandit Bam Chakra-
verty, Pani Babu (Sir K. G. Gupta's brother
Ganga Gobinda Gupta), Krishna Kisore Basak
and others who took parts in Sakuntala as
recast by the Pandit.
Next three sisters Monnoo bai, Annoo Bai
&nd Noyabai showed some Hindi performances
Binder Sabha", " Jadunagore" at East Bengal
Dramatic Hall Tickets we*e sold. This was
the first by women performers.
In 1888, Nawabpur Blysiam Theatre besides
other performances took up an original composi-
tion ''BilwaMongaP* from the pen of Principal
Htrnjaial Nag (dramatic director) asiteed- by
Pandit Bam Chakravartyv Although Girfch's
278
Biiwamangal was a previous composition, thia
one too was popular for some time at Dacca.
We saw a performance of it by the Sonarang
Party at Munsihinganj in 1893.
Next came the Crown Theatre which was
the first professional theatre built anew on the
Purbabanga Natya Samaj Hall through the
efforts of Babu Eakhal Basak. This was about
1892. In 1893, July, the present author saw
performance of Purna Chandra of Girish
Chandra, with Lalit Das as Purna Chandra and
Dunia (actress) in the role of Sundara. In 1896
Eakhal Babu secured Babus Mohendra Bose
Bhabatarini, Mrs. Sukamari Dut, Sashi-
bhusan Ghose, Atul Haldar, Kanok Sorojini
and others from Calcutta, and had Calcutta
pieces staged. Mr. Bose, Mrs. Dutt and few
others returned shortly after, but Ghose and
Kanak Sarojini remained permanantly.
The College authorities (with Mr. Mondy
as principal) and Brahmo Samaj having raised
objection to whole nights' performances in
.imitation of the Classic Theatre Calcutta, the
.Crown returned itself to a place in Islampur. It
was here the present author saw Ardhendu
Mustafi and Prianath Ghose in "Jana" perfor-
mance in June 1899.
279
Besides Crown Theatre, Diamond Jiibiliee
Theatre was started about 1897, the proprietor
of which was Babu Kisori Lai Eoy Chowdhury,
who was also the proprietor of the Kisorilal
Jublee School. In 1907, the present author saw
some performances in June, where one Mr,
Bagchi, Nagen Mukherjee and Sashi Ghose did
very well in their roles acted with dignity as
Seraj, Mohonlal and Karim.
Prof. Jogendra Gupta's Anarkali was staged
in 1909 at the Crown. His Chiriahana had also
have staged at the Lion Theatre, Prof.
Gupta took an interest in theatre for some years
In 1921 Babu Monoranjan Bhattacharya for
the first time appeared as Chandra Sekher in
public theatre. For some time Mr. Dhiren
Mukherjee of Calcutta became the producer.
Crown Theatre was not heard of after some
time. There is no theatre now at J)acca for
the last quarter of a century. There were
amateur performances only at intervals.
A New organisation under name "Dacca
Theatres" has been started of late by Babu
Brojo Gopal Das B. A. of Alakapuri Farashganj
whose "Man and Machine'* was staged on Aug
1, 1943, Mr. Das taking the main role Maba
Danob, Mr. Ajit Gupta as Rup Kumar and Sita
-380
s Rupkuraari. We hope Mr. Das as also
Mr. Taraknatba Das and large body of Dacca
people of lead and light will take up the matter
and start an ideal institution of theatrical
entertainments for the instruction and amuse-
ment of the people.
AT YIKRAMPUR.
For over fifty years, from 18721922,
Vikrampur villages were showing performances
of a high order. The earliest and the most
note-worthy was that at Bajrajogini when an
original composition "Sitaharan" was staged
(vide Dacca Prakas Sravan 21 and 28, 1279B.8.)
$tnd the performance was very touching. An
artificial Panchabati was ' made with the help
of trees and the concert was pleasing.
This was as the Dacca Prokas rightly
remarked the first performance in the village of
East Bengal, In 1887 the members of
Bidganw staged Asrumati in which Pratapsing
(by Kedar Das Gupta), Asrumati (by Durga
Prasanna Das Gupta afterwards Govt, Pleader
rGuttuok), Mansing (Umesh Ch. Das Gupta
afterwards leading pleader, Munshigunge),
Selim (by Jogendra Das Gi^pta Jute ^Merchant)
381
and Sakta Singha (Chintaharan
afterwards Head Master, , Bajshahi Govt. H. E.
School) were specially successful. *Sorojini w was
also staged at Patabhoge.
About 18901892, Bejganw people staged
Sabitri Satyaban and Battle of Plassy,
Sonarang also had some good actors. Their
Jana (with Abinash Sen as Jana), Naramedh
and Profulla were well enacted.
Mulchar also had a dramatic club and Mr.
Jogendra Gupta's acting was appealing.
Bharakar also staged 'Balidan' with Mr.
^lonmatha Das Gupta, Advocate, in the leading
role. *And last not the least the Bidganw Club
under the direction of Babu Tarak Das Gupta
did admiraly. Their performances of Profulla
Balidan, Bilwamangal and Joy deb were veiry
attractive. In 1914 last, at the house of
Deshbandhu C. E. Das at Telirbag during the
Vaidya Sanmilani^ Girish's "Balidan" was staged
very successfully before an assembly consisting
of hundreds. Prof, Eangin Haider M.A. was
very successful as Dulalchand and so was Mr.
Satyendra Das Gupta M.A. B,L. (Advocate
Cuttack) as Saraswati. The present author
was in the leading role of Karunamoy. Desh-
bandhu and his uncle Mr. Bakhal Das arranges
the performance with the help df the present
36
282
Author, on the special occasion which was
advocating stoppage of the dowry system.
Jobi by Makhan Sen was the most attractive
feature of the Bidganw Club. His Srikrishna
in Joydeb was also good.
Sarala and Purnachandra were acted well at
Subhadya in 1896.
AT MTMENSING.
The Arati Natyasangha showed perfor-
mances Profulla, Raja Bahadoor &c. Mr.
Monomohon Sen of Sonarang was the main
actor. The Sangha existed more than twenty
five years.
Prof, Jogendra Gupta's Anarkali was staged
first at Arya Theatre in 1909, before it com-
menced at Grown. Before that it had been
acted at Kalipur, a village of this district.
In May. 1909, "Raja O Rani" was staged for
three days at the Town Hall in aid of Mahakali
Pathshala then managed by the present author
in which play, Raja was acted by Jogendra
Gupta, Rani by Bhupendra Banerjee, Kumar
Sen by Sitangsu Sen, Debdatt by Brojendra
Gangulee the celebrated singer and the present
author also had a small part. This was his
first appearance, on the stage.
283
OTHER DISTRICTS
Casual performances are now and again
performed in Bengal villages. But we can not
close this chapter without mentioning the
permanent Stage of the Labhpur village, in
Birbhoom District built through the efforts of
the dramatist Nirmal Shib Banerjee (author
of Beer Raja, Chore, Eatkana, Nababi
Amal and Bupkumari), which has often been
visited by Calcutta artists, including Aparesh
Babu. The well-known dramatist Tarasankar
Banerjee also acted here soine time. Nirmal
Babu's dramas have not only been staged at his
theatre but also in public theatres. Eupkumari
was staged in 1924 at Art Theatre Lt, Calcutta.
Another permanent stage need he mentioned
one at Jaipur in Jessore. There is also one at
Kalia under the management of Mr. Hemanta
Sen. The present author appeared in this stage
as Sashibhusan in 1928, Durgasankar in 1929
and Joydeb in 1931 (during the Puja time).
Khulna town has also got a stage of its own
where amateurs hold occasional performances*
The Jadabpur T, B. Hospital now and again
arranges performances for the patients. This
is very laudable and ought to set an example to
other institutions of its kind.
CHAPTER XVII
NATYA MANDIR & MR. BHADUR1
Mr. Sisir Bhaduri, as we have seen, was
the leading actor of the University Institute
which was keeping tastes of the people for
theatre alive. His recitation was interesting
and voice attractive. As professor of the
Metropolitan College also he was popular with
students for his reading of dramas and poems.
So when he left the college and joined the
professional Theatre there was great sensation
amongst the educated people, especially the
students.
The times also were eager for the reception
of a man like him. Amarqndra Natb who
commanded great popularity amongst the
student community was no more, the old actors
were getting stereotyped and no nem artist waa
coming to take their pi ace , tkeatr.es, too, were
not rur*ning well, 'Star' was dimming in light
with Tara Sundari, Minerva somewhat
was awaiting a tragic, fate, Grand
National was closed for good, Thespiaji Temple
285
died still-born, and only Monomohan was com-
manding packed-up houses ; but even there Dani
Babu was getting older and required rejuvina-
tion. At such a time the appearance of Sisir
on the Bengali stage was considered as a
blessing for it and when he appeared, public
sympathy followed him in all admiration.
A. stage also was not found wanting. The
Madan Theatres Ltd, opened the Bengali Thea-
trical Co. at Cornwallis Street where the.
Uttara Cinema House stands, and secured Mr.
Bhaduri's services on a high salary. A suitable
drama with a character befitting Bhaduri was
also obtained, and with that Khirode Prasad's
'Alamgeer' Sisir made his first appearance on
the Bengali Stage on Dec. 10, 1921. His
representation proved to be the most wonderful
and he at once captured the imagination of tfce
Bengali audience. From that eventful night,
indeed. Bhaduri's position as a brilliant actor
was secured.
Equally successful was he as Eaghubeeu
with Basanta as Samali in the drama of ita
name, that followed. He next staged some
other old dramas and although he was here for
a few months only, he left a great impression
behind him. Indeed he promised to be the
coming, jnan of the Bengali stage,
He then left for the Taj Mahal Film Co.
where his part of the hero of Andhare Alo
created no less interest than before.
Then again, when Art Theatre Lt. was about
to open with Karnarjoon, there was a proposal
of his joining that, but it fell through. He
however got good sales, when during Xmas
Exhibition at the Eden Gardens in 1923, he
arranged performances of D. L. Boy's "Sita" for
four nights. The success gave him an incentive
to start a theatre of his own. He then took
lease of the Alfred Stage and hastened to open
it with the same drama. But to his great dis-
appointment, the right of Sita's performance
was transferred to the Art Theatre by the
dramatist's son. He thus opened the theatre
with Moni Gangolee's k *Basanta Lila" in March
1924, during the Dol festival, the charge of
dances being left with the author of the piece.
Krishna Ch. De took the part of Basanta Boot,
With this, too, he got a full house. Alamgeer
too, repeated here with Lalit Lahiri as Eajsing,
Rabi Boy Bhimsing, Malini as tldepuri
was being appreciated more and more.
The proprietor of the Monohan Theatre
was about the time contemplating disbandment
of his company. Bhaduri hastened to him
at Darjiling and secured its lease. He now
287
made a resolve to open his theatre with nothing
but 'Sita' and got therefore a new drama of its
name written by Babu Jogesh Chandra Chou-
dhury and staged it first on Aug 6, 1924. *
People were impatient for his appearance, but
his firm determination for "Sita" leaned them
more to his side, and thus when he made
the first bow at Monomohan, they recei-
ved him most enthusiastically. Drama too
proved successful not only for its good presenta-
tion by the performers but also more for the
traditional Hindu ideal in its theme, which
appealed to all classes of people equally. Success
in the performance added feathers to Bhaduri's
crest and he stood now perfectly firm on his
own legs. Bhisma was next renewed.
_~ *.
A word about the socalled new method of
acting which was often heard of at the time* As
seen in the performances of the University
Institute, Bhaduri was an out and out product
of the Girish School of acting '* which consisted
in extreme naturalness in prose-acting
especially in social dramas, but the poetry had
to be read in proper metres. Above all, one had
* Earn Sisir, Sita Prova, Balmiki Monoranj^n
Bhattacherjee Sambook Jogesh Choudhury author
Basista Lalit Lahiri, Durmukh Amitava Bose,
Laba Jiban Ganguli, Kush Babi Boy.
; 288
to be absorbed in the character he had tore-
present*'. As to prose acting, there could not
be any question, but as to poetry those who
could not read as Girish or his worthy disciples
directed, or as Ardhendu Sekhar exhibited, the
metre now and then appeared not pleasing.
Now Sisir thought that to rise above Dani
Babu, something different was required to be
done, and the time too favoured him.
Those were the days when people were used
more to the poises and movements of foreign
actors as seen on films. Poetry too was not
meeting that reception that was its previlege for
over the past sixty years. Sisir now in his
acting began to give twists in some places on
the above lines and recite poems more like
prose with his sonorous voice which itself was
an attraction. Scenes and dresses also made
some improvements. All these for a time
dazzled the public mind and he received unusal
backing from the people for his so-called new
style which too, as we shall see, came to dis-
favour # in no time.
The next piece 'Pashani' staged on Dec. 13,
1925, proved not so lucky. He was in dual
* Vide Author's observations in chapter for *Rang
MahaF under Nandaranir Sansar.
289
roles of Goutama and Indra and though passed
well as the former, his trick when playing the
latter could not escape the notice of real artists.
Pashani gave sales no doubt, but the piece
again raised vigorous protests from various
writers and critics who disapproved of Ahalya
(one of the five daughters whose name Hindus
utter with break of day) being .depicted as a
whore on the stage. It seemed to them that the
dramatist was carried away much by poetic
imagination and deviated greatly from Balmiki.
Manoranjan Babu's Chiranjiv was interesting.
Sisir next staged Jana of Girish Chandra on
June 3, 1925 and for playing in the role of the
heroine, secured the services of the celebrated
actress Tara Sundari. It was at this time Art
Theatre was showing the performances of Jana
with Dani Babu (the dramatist's son) as Bidusak
The latter objected to the drama being adver-
tised for performance by Sisir Babu without his
consent and a royalty being paid to him. Sisir
Babu insisted on the performance irrespective
of what might happen and people awaited the
consequences with eagerness* All gossips were
however set at rest by Dani Babu withdrawing
all objections and the acting of Jana was mar-
vellously done by the troupe specially by Tara
Sundari and Mr. Rabindra Boy whose Krishna
37
290
was excellently rendered, (both his expressions
and sweet, sonorous voice, rare with the then
actors, appropriately fitting the part).
Mr. S. 0. Bose's Pundareek was next pnt
on boards on Aug. 18, 1925 and here too he did
well in the main role with Tarasundari as Saki,
Naresh Mitra as Bhringar, Charusheela Rustan,
After having secured full public sympathy
and name, Bhaduri now removed to 38, Corn-
wallis Theatre and opened "Natya Mandir"
on June 26, 1926 with Eabindra Nath's Bisha-
ryan, himself appearing as Eaghupati, Rabindra
Roy as Jaysingha, Manoranjan as Raja, Charu-
sheela as Rani and Usha Patal,as Aparna.
Mr. Bhaduri was here for over three years
and was more established in reputation. In
'Naranarain' of Kshirode Babu (Dec. 1, 1926)
he was in his usual self as Kama with Krishna
Bhamini of 'Art' as Padma, and Charusheela as
Droupadi, Rabindra Roy as Krishna but in
Girish's 'Pandaber Agnatbash staged in Aug,
he was marvellous as Bheem and Brahmin.
Further his Jivananda was rather superb
in 'Sorashi' staged on Sept. 7, 1927 with Jogesh
* When next he appeared as Joysinha, Naresh
Mitra appeared as Raghupati for one night and Kabi
Boy fot the rest.
'291
Choudury as Janardan Roy, Rabi Roy Prafulla
Sailen Choudhury Nirmal, Amalendu Siromoni
Manoranjan Sagore Sardar, Gopal Bhatta-
oherjee Ekkari and Charushila as the heroine. *
He used to be identified with the part and when
later Rabindranath's Sheshraksha was added
to it as an after-piece, it produced greater
interest. Popularity of Sisir for about a year
since the last piece was staged, was at its zenith,
and he was now a power in the theatrical world.
About this time people were very enthusiastic
about him and his ardent admirers used to
regard him as an 'abatar' and if any body
uttered a word about any other person's talents
being equal to or greater than his, he used to
get good scolding if not a thrashing. Thus, how-
ever wrongly he conceived the character of
Jogesh of ''Profulla", they used to take his to
be the right conception.
* All papers were, full of eulogy and "Forward** goes
above all "Bhaduri created a stir in 'the dramatic
world of Bengal. In the role of Jivananda once again
be revealed the talents of the master-artist. The
audience remained spell-bound by the graceful and
free movements. Constant modulation of voice was
the special feature and the acting of Sisir was superb.
As regards production, it must be said Bengali
audience have not seen such a perfect production,"
At such a time of his greatest fame, came
an opportunity for people to see the contest
between the old Dani Babu and himself while a
performance of Profulla was advertised in his
own theatre for raising funds for the statue of
Girish Chandra to be set at the Girish Park,
Calcutta. The cast for the performance held on
the special night on Oct. 2, 1928 included promi-
nent artists of different theatres who represen-
ted characters as follows
Dani Babu Jogesh, Sisir Babu Earnesh, Sailen
Choudhury -Suresh, Rabindra Roy Sibnath, Tara
Sundari Uma Sundari, Kusum Kumari Jnanada,
Prabha .Profulla, Nirinalendu Babu Bhajahari,
Kartic De Pitauibar, Jogesh Choudhury Madan
Dada, Matalni Ascharyamoyee&c.
The house was full to its highest capacity,
audience expectant and occasion a solemn one,
and although the characters of Jogesh &
Ramesh are divergent and each one tried to do
his best, the house was however decided in its
openicn thsrt palm was carried off by Dani Babu.
Even the admirers of Sisir had to admit the
__ ^
superior genius of the old artist. This was
the first rebuff Sisir got in his renown.
Next "Dig-Vijoy'* relating to Nadirshah
with Sishir as Nadir was staged on Dec, 14,
1928, the same day as Dani Babu appeared as
293
Durgasankar in Pathersheshe at the Mano-
mohan Theatre, Shisir Babu acted no doubt
remarkably well but Alamgeer appeared to be
perceptible in the foreign plunderer, while
with extreme pathos, changes of emotion and
the tragic rendering, Dani Babu at once took
its audience by storm. This was the second
instance Shisir's position as the leading man of
the Bengali stage got another shake.
Then rose up a bad* star of Sisir's reverses.
No doubt he was attractive as Barnes in Eama
in June 1929 and as Ketanlal in Sankhadhwani
(Nov. 2-29) with Eabi Eoy as Ajit Singh, but
his disappointment knew no bounds when
Tapati * of Eabindra was put all boards on
Dec. 25, 1929, Tapati positively proved a
failure and his popularity was on the wane.
Sales fell off and in his inability to pay off
his friends at the time of their need who
advanced money at the beginning, he began
to lose their sympathy. Over and above that,
his uncontrollable habits of drinking too began
to cause annoyance even to his own men,
At such a time he bad no alternative but to
discontinue his theatre, disband his party and
* Raja Sisir, His brother Jivon GaDgulee, Deb-
datta JTogesh, Hani Sumifcra Probha, Kanka as
Bipasha, Babi Roy Kumar Sen and Ratneswar,
even join another Company accepting a
position in the gift of its directors.
He joined the Art Theatre on a percentage
of sales. There he appeared as Chanakya,
Mriganka, Shajahan and other characters But
neither did he feel at home here, nor could the
directors feel that his rendering was superior
to that of others who appeared previously in
those roles. At this m time he got a great
opportunity. He was invited to go to New
York with his party to show performances
there. This was a rare chance and let us see
how it proved fruitful to him.
IN AMEBIOA
In 1929, Mr. Satoo Sen interested in thea-
trical techniques, then staying at Now York
got himself introduced to Elizabeth Merbury,
^n enderly lady possessed of vast influence who
arranged performances of best companies of the
old world including ''Moscow Art Theatre/' In
the course of their conversation she wanted the
fi*8t Indian Company to be brought to India
and wished Satoo Sen to do the needful. Sen
f
carried on correspondanoe with Bhaduri and
the latter agreed to come,
295
After sometime, Mr. Erric Elliot, an English
youngman saw Miss Merbury as agent of Mr.
Bhaduri and entered into a contract with her
for showing performances with the first class
Indian Company. Elliot was given requisite
money to bring back the troupe and the passage
money was paid from New York. Carl Beed
was the producer of Merbury.
Bhaduri's party consisted, besides himself, of
Messrs Joges Choudhury, Manoranjan Bhatta-
charya, Bis^anath Bhaduri, Tarakurnar Bhaduri,
Amalendu Lahiri, Sailen Chaudhury, Srish
Chatterjee, Becha Chandra, Arbindo Bose,
Pannalal Banerjee, Eadhacharan Bhattacherji.
Misses Kankabati, Probha, Parimal* Belarani,
Sarala (Benki) and a few others.
The party reached New York in Oct 25 in
two batches. Bhaduri was given a unique
reception at the City Hall under the presidency
of the Deputy Mayor a like of which had not
been accorded even to Eabindranath who was
then staying at New Y'ork. It was advertised
from before that the best Indian Troupe was
coining and that performance would be held at
the Biltinore Theatre from Oct 28. All seats
for the week were booked in advance, the
minimum charge for a seat being 12 dollars.
296
The dress-rehearsal however proved very
disappointing and Miss Merbury expressed her
utter dissatisfaction of the performance. Reed
was also of the same opinion but Merbury was
furious. Next day, she withdrew all help and
cancelled the premiere on the basis of the
recitals in the deed of contract, The whole
transaction cost the paying agents f 20000.
Satu Sen now came to the rescue of the
party. He not only managed witfc the news-
agents for the prestige of his country, but was
also arranging its shows by any means. After
two months and a half elapsed, performance
was arranged for a week in Vanderbolt Theatre
from Jan. 12 to 17 in 1931. Some of the papers
wrote no doubt in praise of the performances,
but its sales were very unsatisfactory and even
the ballet girls recruited from the locality could
not be paid. Bhaduri's voice appealed to the
audience but he was considered 'flamboyant'
Probha impressed them more. One paper
expressed Twice the queen shed tears, and we
too shed tears with her/'
That was all. The performance could not
be repeated in America, Satoo arranged a
contract with a company for performance in
London, but this time luck was against Bhaduri.
297
The contract insisted on the part of Seeta being
played by Prabha, but it became physically
impossible for her to appear and the party had
no alternative but to return in a Cargo steamer,
fares being paid by Carl Reed's lawyer Mr. FaneL
Before the party embarked on the steamer,
the Labour Union as champion for the cause
of the ballet girls &c, brought warrants against
the party. On Satoo Sen's execution of an
I. 0. U., the party was let ofi.
No doubt Mr, Bhaduri and Prabha were
appreciated, but the party as a whole was highly
disappointing, as the selection was wrong.
Durmukh was trembling during dress-rehearal
and persons who had never been on the stage
before were entrusted with important parts.
It was really culpable to put novices like Becha
Chandra, Srish Chatterjee, Arabinda Bose on
the American stage. A unique opportunity,
rarely to be met with in the life of an Indian
artist, was offered to Bhaduri but he could not
take advantage it. It is useless to blame the
American people for they know how to appreciate
Indian merit. Uday Sankar got his due and
there is no reason why Sisir would not get it,
had he deserved it. He should have taken Babi
Boy, Jivan Gangulee and others who were
with him. fie should have also approached
38
298
the well-known artists Messers Tinoouri
Chakrabarty, Ahindra Choudhury, Radhika-
nanda, Nirmalendu, Naresh Mitra and others.
He should have taken also some more accom-
plished artists* Krishnabhamini, Charushila,
Nihar, Saraju, Light, Putul and some persons
skilled in Oriental dance and music, He should
not have also thought too much of himself and
his equipments which he used to call as A one.
He failed and with him the Indian Stage was
also lowered in the estimation of the west.
Discomfited abroad, he now came home,
but found no stage open for lease. "Natyapith"
of Howrah allowed him to stage on April 30,
1931 but that came to no help. The Natya
Niketan too gave him chances for four days
and atlast the directorate of the newly built
Bungmahal welcomed him with a bonus of Rs.
10000J- but Bishnoopriya of Jogesh Choudbury
staged on Aug. 8, 1931 proved no success.
During the Xmas he left with his party to the
great loss of the company. His dealings as
business-man also became anything but satis-
factory. He next went to Natya Niketan and
Mahaprasthan staged there on Nov. 25, 1932
was a failure.
He next comes to the Star towards the end
of 1933, starts his "N>va Natya Mandir" and
299
stays there till May 1937, His activities at the
Star from 19331937 have been described in
pages 202206. Biraj Bou, Bijoya, Ritimata
Natak, demonstrated his skill no doubt, and
Bijoya gave him very good sales, but he was
getting unpopular. Grihadaha failed him. His
voice too lost its usual charm and sweetness
and often sounded hoarse. His acting also
became unnatural with unnecessary display of
limbs and voice. Journals once verbose in
praise of him, began now to write in derision.
Friends who idolised him came to scoff. By
the end of the period he could not pay dues.
He had already been insolvent. Creditors and
benefactors lost faith in him and he began to
fall out with the proprietors of the theatre. Civil
and Criminal cases followed, and no doubt the
criminal case started against him failed, but in
the civil, a decree for ejectment was passed in
favour of his adversary and he had to leave the
theatre.
After that he had to live practically a retired
life, as no stage was available. Now and then
he tried to appear in combination wioh attists
of other stages, but often did trouble ensue.
With all his lapses however, people had
love and regards for him. They were prepared
300
to condone everything past. Thus when in
1942 he opened his c 'Sri Bangam" at the Natya
Niketan stage with worthless pieces as Jivon
Ranga, Urochithi and Deshbandhu, people still
did not fail to extend their patronage and the
present author paid him great eulogy when he
was present to pay homage to the memory of
Girish Chandra at the Girish Park in March
1942.
In "Michael", again, he displayed such rare his-
trionic skill as could be expected from none but
him, Michael, was at this time being acted in
another stage too, by a distinguished actor with
success, but Sishir even with voice failing and
powers declining, emitted such brilliant flashes
now and again that startled all. But that was
the last. He has since left the stage and the
public feels his absence very much.
Taking everything into consideration, it
can not be denied that Mr. Sishir Bhaduri's
contribution to the Bengali stage was great.
But for him and the train of actors that followed
him, Bengali stage would have been in a mori-
bund condition. May God bring him on the
stage back and give strength to revivify it.
CHAPTER XVIII
I NATYA NIKETAN.
"Natya Niketan" one of the best stages of
modern time owes for its origin to the organising
capacity of Mr. Probodh Chandra Ghiha who
got the stage built ^ through his exertion and
performed the opening cerenlony on March 14,
1931, On the 16th some select scenes were
shown in which Dani Babu as Gadadhar, Jagat
Seth, Bam of Eaban Badha and Meghnad of
Meghuad with others entertained the audience*
On the 23rd Match 1931, 'Dhrubatara' of Bai
Jatindra Nath Sinha Bahadoor, as dramatised
by Mr. Hemen Boy was put on boards in which
the cast was as follows :
Upen Nirmalendu Lahiri, Arun Mdni Ghose. Old
Brahmin Monoronjan Bhattacherjee, Charulata
Neehar Bala, Baoalata Sefalika (Putul),
On the 30th. May 1931, Mr, Manamatha
Boy's Sabitri was put on board with Neehar
as Sabitri, Kamekshya Chatterjee as Satyaban
Nirmalendu Lahiri as Aswapati and Monoranjau
Bhattacharjee as Dwoomat Sen.
302
Mr. Sishir Bhaduri who had just returned
from America, showed performances for three
nights in July persuading Dani Babu to help
him, Dani Babu appeared as Chanakya, Jogesh
and Vidushaka with Sishir Babu as Chandra
f
Gupta, Eamesh and Probeer. ^Balidan" too
was to have been staged, but could not be done.
Mr. Guha, however with Mr. Khetra Mitter's
help arranged it with Dani Babu as Karoona-
moy, Nirmalendu Babu as Dulal, Neerada as
Saraswati, Ascharja as Jobi, Handu Babu as
Eamanath and Kshetro Babu as Mohit &c., on
July 21, 1931,
On the 14th Nov. 1931, Sachin Sen's Jharer
Rate was staged when excellent light-arrange-
ments under Satu Sen's direction were shown,
The drama is new of its kind, Prosanta,
Bijaii, Probhanjan, Mejdi, Sandya, Reba and
Bai Bahadoor were respectively represented by
Lahiri, Neehar, Eadhikananda, Susila Sundari,
Putul, Nirupama and Lalit Mitra.
Nazrul's Aleya and Nirupama Devi's Didi
as dramatised by Sivaram Chakravarty next
followed in Deo. 1931,
"Satitirtha" * a tragedy by Sachin Sen was
staged on June 20, 1932.
>urgadas as Beerbhadra, Nihar Sabeetri, Kusum
Eumari Sadoo Pishi, Bhttmen Boy Sobhanlal and
Banibala as Ambalika.
3Q3
Next was staged Jaladhar's "Andhare Alo"
on July 8, 1932 which was followed a month
after by Sudhin Raha's "Biplab".
Mr. Bhaduri who had left Bungmahal made
now this place as his stay, and from Nov. 26,
1932, began to stage "Mahaprasthan" a new
drama of Satyendra Krishna Gupta with the
following cast :
Sri Krishna Mr. Bhaduri, Gandhari Konka,
Lakshana Neehar, Jarasandha Bhumen Roy,
Mayabati Sefalika, Basudeb Jogesh Chaudhury,
Arjoon Sailen Chaudhury,
Neither the drama nor its performance
impressed anybody and Bhaduri then left , for
the Star Theatre,
Left alone, Niketan now showed Sachin Sen's
Janani in July with Charushila in the main role
which was followed next by "MA* on Dec. 16,
1933 dramatised, before, by Aparesh Babu from
Sm. Anurupa Devi's novel. This with Neehar as
Brojarani and Ahindra Babu as Arbinda proved
successful. *
Of the tnree pieces of 1934, Purnima Milan
(Jogesh), Swarnalanka (S. Kar) and Chakra-
* Charushila Sarat Shashi, Saraju Boy Ajit,
Nirmalendu Lahiri Netai, Monoranjan - Mrityaunjoy
Bose, Kusum Kumari Durga Sundari and
Arabinda's widowed mother.
804
byuha (Manoranjan Bhattacherjee's first attempt
as adapted from Bhasa's Panoharatram) the
last proved a little better, with Ahindra Chou-
dhury as Sakuni, Nihar Abhimanyoo, Charushila
Droupadi, Bheem Nirmalendu Lahiri, Kama
dramatist, Sarajoo Uttara,
In 1935, " Janmatithi" staged on March 30,
was followed by Prabhabati Devi's Brata
Charini dramatised by Manoranjan Bhatta-
oharjee on April 19, 1935, with the oast
Behari Ahin, Jyoti Nirmal, Rajani Moaoran-
jan, Jayanti Charushila, Eva Sarajoo, Sita Nihar.
Natya Niketan was next converted into a
company limited to shares under the name
Calcutta Theatres Limited with Mr. Jashoda-
narain Ghosh as Managing Director.
In July 11, 1935 Khona (Manmatha Boy)
was staged with Ahin as Baraha, Jivan Ganguli
as Mihir, Saraju as Khona, Charushila- as
Dharani.
Sachin Sen's "Nara Devata" staged on Dec.
14, 1935 referring to temporal power and in-
difference of the king to the miserable condition
of subjects was soon proscribed. The part of
Eaja was taken by Ahin, Agnibesh by Bhumen
Boy, Debdatta by Babi Boy. This was the
805
time fot the pt-oprialjor Probodh Babu
he passed through difficulties %hrteh
however did not seem to thwart him-
Vidya Sundar was staged on the 21st
December 1935' 'frith Jahar Ganguli as Sundar,
Nehar as Hira, Oharubala as Vidya and R&bi
Roy as Ajarneel.
Difficulties still thipkened, but "Kedar Roy"
(Banpiesh Cfean(|ra Goswami) staged in April 4,
1936 improved the position to a ( certain extent.
The performance was successful throughout,
and the cast was $s follows : :
Kedar Eai Ahin Choudhury, Karvello-^Bhui^isn
Boy f Kalu SardarMfini Ghosh, Chand Boy Babi
Boy, Ishakhan Jahar Ganguli, Maya Renuka Boy,
Srimanta Naresh Mitra, Santi Chhayadevi, Batna
(Jbarubala, Sona Nirupama, the roles of Kedar Boy,
Chand Boy, KarMlo and flriraanta being marvellbus.
Eabinflra Nath's Gora was .staged in Dec. Id,
1936 with the following cast :-r- . , "
Anandamayi Eaj Laksmi, Barada Sundari
Monbrama, Sucharitw Santi Gupta, Paresh - Abindra,
Panu Babu Naresh Mitra, Gora Bhiimen Boy
Mahim Babi Roy, Binoy Jahar, Lalita Cbarubala.
Anandamayi} Paresh, Panu. Mahim and
Jjalita \vere appreciated by the audience.
IB 1937 sales began to fall, so the prices o!
ere reduotedi
39
306
Mafnmatha Boy 's Satee was staged on April
28, Mogul Masnad on June 3Qj and Babrubahan
on Dec. 14, 1937.
position of the theatrp was bad and
misunderstanding continued between Probodh
Babu and Jashoda Ghosh and the latter
removed to Kangamahal at Upper Chitpore
Kqiacd with' all appurtensiiices^ In this time of
difficulty Messrs; Eabi Koy and Jiten Ganguli
came to his help aiid ! organised a troupe to
'stage Sachin Sen Gupta's Serajaddoulla on
June 29, 1938 with Mr. Nirmal Lahiri as
8e*aj, ' Eafei ( Eby as Goliam Eahaman, Neehar
a's { Aleya atfd Saraju ^as tiutfunnessa. Without
eriteriiig iiito "merits of the drama, ! we must
declare that the play was really a success,
'e^cialiy with, the ajx>ve p^rts. As soon as
Ijipwever the glamour was gone, ^Probodh Babu
again reduced the prices of admission and
Lahiri and Eoy left.
Manmatha floy's "Mi^kasim" was now
staged on i)ec. ; i7, 1938 with Mr,Chhabi Biswas
in the main role. Situation did not improve
until Sri jut Sarat Chandra Chatter jee's well-
known novel Pather Dabi just released from
'proscription was rendered into drama and put
on boards oi\ May 13, 1939 >with vMr, Ahiti
'307
Cboudhury ; as Sabyasaehi with Putul as
and Protyharas Sumitra.
This ran for some time only. Mahamayar Qhar
staged on Dec, 1, 1939 by Jogesh Choudhury
with himself as Mrityunjay and Lahiri as^Sachin
though passed tolerably, Satyendra Gupta's
Agnisikha (Dec, 30, 1939) was worse. Niketan
was gapping and neither did Parinita of Mr.
Choudhury with himself Jamidar and Neehar
as his wife nor Bharatbarsha of Sachin Sen
Gupta with Naresh Mitra as Bharat and Babi
Boy as Parish, improved matters. Then was
staged Tarasankar Banerji's Kalindi, 'probably
his first attempt, on July 3,2, 1941 with Naresh
Mitra , as Achintya, ; Sailen Choudhury as
Barneswar, Babi Boy as Indra Boy, Bhumeji
Boy as Ahindra ^nd Neehar Sunity and last of.
all, "Mahasakti" with Babi Boy in the maiB,
role of Sambhu gave the finishing stroke,
WHen next a piece with hope against hope
was put under rehearsal, up came Mr. Bhaduri
to take possession of "Niketan" to the exclusibii
of Prabodh Babu.
II SRI BANGAM.
About the Puja time 1941, Mr. SisMr Bhadurfc
took lease of the Natya Niketan Board
a new theatre "Sri Kangam". After
having staged the old dramas he opened a new
piece "Jivan Ranga" on Jan. 10, 1942 with
Mtnself in the main role. He introduced new
set of actors and none of his old associates
6xcept Mr. Sailen Choudhury was with him.
The piece took two hours to act and created
no impression. This was followed by Urochithi
on March 7, and "Deshbandhu" oil Oct. 10,
I42. In the former Sishir Babu appeared as
Sunil and in the latter as De>shbandhu.
"Maya" followed the above 6n Jam 16, 1943.
Notoe of the above pieces coated any interest.
"Michael" *fos staged iri April 1948 and
although sales were riot good, Mr. Bhaduri's
of the hero of |>lank Vfcrse
to the culbtirfed audieri'ce. English
dff Henrietta was also charming*
Bhaduri could not make much headway
favoured his party this time. Bipradas
Dramatised by Bidhayok Bhattacherya fronr the
well-known novel of Sarat Ohatterjee wa$ put
on boards with the cast
Bipradas Biswanath >Bhadnri ? Dwijadas Mihir
Bhattacherjee, Sasadbar Banjit Boy, Bai Saheb
Sailen
309
Mr, Biswanath's part was natural. So waa
Mr. Choudhury's. Bipradas % was followed by
Bidhayak's "Taita" a hilarious piece with the
film actress Malina in the main role.
Theatre still bears the name of Mr. Sisir
Bhaduri as proprietor, but the real Hamlet is
not there. We hope to see him on the stage with
health recouped and fresh energy regained.
"Bandanar Biye" is the last piece staged here.
Ill BUNG MAHAL
The credit of starting this theatre lies with
Bab^ Rabindra Mohan Roy, ^the well-known
artist. A fter he left the service of Minsrva
after having acte c d the part of Aroar in "fianga*
rakhi" in May 1930, he with ijae help^qf tlipj
blind singer Krishna Chandra ( De floated a,
limited company by raising shared ( dn^ arranged
the coiiBtruction of the T*he&tre on the pi9ce of !
land at 85/1 Gornwallis Street which th^y
lease. $f In th& ni^aritime
fdrm&iic^ in neigWbterin
6! v Dipti Sftn^ha, Oft. ISTai^h
Light and Nivanoni were with
By'feMs wiiie ; Mr. Bhaiduii
American but w&nted a stage "badly.
310
of the directorate consisting of the above two,
and Messrs. S. K. Gangulee, N.C. Chunder, D,N.
Dhar Hem Chandra De and S. Ahmed) however
brought him and his party on payment of
Rs. 10000/- to him an bonus and Mr. Jogesh
Chandra Chowdhury's Vishnupriya was put on
boards on the opening night of the Theatre
(August 8, 1931) with Mr. Bhaduri as Gouranga,
Probha as the heroine, Nripesh Boy as Nitai
and Jogesh Babu himself as Ad wait, Satob Sen
who had returned from America became the
stage manager. Eabi Roy, De, Light and Saraju
were left out of the cast, yet they managed to
appear in minor roles.
Next, after running some old pieces including
Asoke (with- Bhaduri as Asoke and Eabi Eoy as
Mar), Sisir Bajbu left with his p&rty, putting
the company to much loss.
Boy ftnd De again took the lea$ and began
to .manage with difficulty, sonaejbime even
bonrowing artists from Prpbodh B^bu of N. N>
They; then put Sourin Mukerjee's ; /?w^e/a on
Jan* i ; 17> 1932 5yitb Sef alika in the naine rple
9upporte^ by Roy as Jafar, De as Mpllu and
Light as Monia.
?.* Debdasi staged during Sivaratri wMi Eoy
a^Sekhar, Prokabmoni as Parboti and Sefalika
811
as Rajani Gandha was followed Jby
Khela in Dol with Rabi Roy as Krishna
Charubala as Malaya; Krishna De Baeanto,
Light Srimati and Putul Brinda.
Sindhu Gprab by IJtpal Sen was next staged
on June 25, 1932 with Roy as Ranjan, Nirmal
Lahiri as Rangalal and Sara jubala as Artina.
Satu Sen was in charge of stage managehienfcr
Ih July Jaladhar Cbattetj6e*s Asabarna
was staged with Nirmol Lahiri as Dh'atatiki^
as Malaya and De as Bani Kantha.
was foiled by "Raijya Sree" m
1932, with Rabi Roy as Protap, (hero), Sar^ju
heroine Kartic De as Puudarik, Sontosh \^inha
Raja and Sautabala ; as Rani. ( t
The theatre did not run well and before
performances had to be susipendedr
Mangbgement of the theatre, (Juying ite
'crisis, was, next transferred to thei hands of
Messrs J Shisir Mullick son of Mr, S. 0.
I.6,S, Mr. Mmllick began to manage the Theatre
Mgssrs Jamini Mitra and Satu Sen.
After finishing 'Banerpakhi* rehearsal of which
had commenced before, the management staged
on April 1 17* 1933, i dramatised by
Jognsfe Gyoudbtiry from A&urupa
812
oi -the ?>name and the play suowssful as
it iwas, ietched much money to the management,
3Jhe east was as follows :-*r
Muralidhar Babi Briy^ Badhika PrasaBDa 'Jbgesh
Ghoudhury, Bebari Naresh Mitra, Brojoraj Bhumen
Boy, Nirmal Bateen Banerjee, Kesab Doctor Amar
Bose, Soudamini Ashmantara, Aparna - Sefalika.
Dheera (the blind girl) Chatubala> Kedar Babu
Ohatterjee.
All the above parts were magniftoe^ and
Dhqera very natural. E'rom now on, a revolving
stage was aet in Bang Mohal. It spoke of great
improvement of the stage. The credit lay with
>Satu Sen who inaugerated it with the help of
MX. Shisir Mullick.
< ' _ t . > ; ' / . . ' " '
This was followed b^ Mr. Monmotha ]Roys
Asoke on December 2, 1933, when amongst
otiiers the part of Tishwarakshita was played
by Santi Gupta who appeared for the first time
on the stage and did the part well. Babi Boy
Indu Mukerjee, Batin Banerjee, Suhashini,
Bhumen Boy, Naresh Mitter, ! Amar Bose,
Jpgesh Choudhury and Bijoy Kartic appearing
as Asoke, Maheudra, Kunal, Dlvi, JBitaspok,
Khallatak, Dimakas, Upa Gnpta, Radha Gup^a
respectively. Boy brothers did well.
Next Patibrota by i Mr. logerfi Gtuotidfatiry
dramatist (from Kumar Dhireadf a Narain Bo/s
313
novel "Shparesher Prabhab*') which was staged
on 31st March 1934 with the following cast :*
Rajyeswar Jogesh Choudhury, Kalinath Naresh
Mitra, Banendra Bathin, Jyotsna Santi Gupta,
Tarala Sefalika, Matangini Blackie, Bimal
Bhumen Eoy, Gopi Gunda Krishnadhan Mukerjee,
Sonamali Amar Bose.
This was followed by-^Kajr? a charming
opera by Sailen Eoy and Souren Mukerjee
which created some sensation from the 7th
August 1934. The cast was as follows :
Anadi Naresh Mitra, Pallab & Tomal Eabi Eoy,
Siharan Bhumen Eoy, Mr. GOBS Amar Bose,
Barada & Syamol Jahar Gangulee, Ashu Krishna-
dhone, Lililal Jogesh Choudhury, Koela Singi
Suhasini, Satya Bhama 1 ^ Pishemohasay Hiralal
Chatterjee.
Then was staged "Banglar Meye" staged by
Jogesh Choudhury from Prabhabati Devi
Sareswati's story "Father Seshe" on September
20, 1934 with the following cast :
Upen Jogesh Choudhury, Jiten Naresh Mitra,
Satyen - Eateen Banerjee, Suresh Eabi Eoy,
Prokash Jahar Ganguly, Anil Bhumen Eoy,
Devi Charubala, Bbabani Eenu Bala (Sukb),
Bithi Sefalika, Maya Banerjee-- Santi Gupta.
Jogesh Babu, Naresh Babu and Boys rendered
their parts well and as to Santi Gupta she too
was interesting, and if we could ignore one or
40
314
two gestures which were laboured, we would
certainly call it superb.
This was followed by Mr, Choudhury's Eavan
(December 12, 1934) which did not run well but
the next piece Father Sathi by Jogesh Chou-
dhury from Anurupa Devi's story of the name
was staged on May 9, 1935 with author as
Basanta Sen, Babi Eoy Saradindu (eldest son)
Jahar as Sasanka, hero (younger), Naresh Mitra
as school master, Amareshwar, Eathin as I.C.S,
Hironmoy, Bhuinen Eoy as Narendra Narain,
Eajlakshmi as Bindubasini, Santi Gupta Eubi.
Naresh Babu was very natural.
At this stage, Amar Ghose came again and
owing to some difference between him and
Mr. Mullick, the latter left. Eoy brothers,
Jahar Gangulee and Charubala also lefj; the
concern.
During Ghose's time which was again tern*
porary this time, Charitraheen (from Sj. Sarat
Chatter jee's novel) was staged on December 20,
1935 with Jogesh Choudhury as Shivaprosad,
Monoranjan as Upen, Naresh Mitra as Haran,
Eatin as Satish, Dhiraj Bhattacherjee as
Divakar, Santi Gupta as Kiron, Sefalika as
Sabitri, Suhasini as Surabala.
Sudhir Baha's "Sarbahara" was staged on
30th May 1936 and Nandaraneer San sar (Jogesh
315
Choudhury) was staged on August* 20, 1936,
after which the theatre was suspended for
sometime.
Probha had come here only recently and
she played the part of the elder sister of
Nandarani represented by Ashantara. Jogesh
Babu was their maternal uncle. Mahim, Nando-
rani's husband was represented by Monoronjan
Babu and son by Dhiraj Bhattacharjee.
Nandaraneer Sansar no doubt failed but we
noticed a marked difference in the acting of
some prominent artists, especially in Jogesh
Babu, Monoranjan Babu and Miss Prabha, all
of whom got some training from Sisir Babu.
Jogesh Babu was now entirely free from the
modern influence and became an out amj. out
artist of the Girish * school He used to act
with feelings and discard borrowed gestures
from outside. His Badhika Babu, Upen, Siva-
prosad, Basajita Sen were really good and h&
was at his best in the last piece here. To add
to this natural acting, if he had the gravity and
depth of voice like even that of Aparesh
he would have been the best artist for
* Jogesh Babu's criticism of GirishV social
dramas won htm a gold medal before he joined
Public Stage, Also see page 287,
316
dramas duting the last period which remained
void after Dani Babu's death. Be that as it
may, we noticed also that Probha would take a
long time to come to that standard and as we
shall see, she actually came to that at a subse-
quent stage. Monoranjan Babu was slowly
proceeding, although his Rajaninath was un-
exceptionable under Aparesh Babu's training.
Jogesh Babu topped the list of all artists as
triumphant in the conflict of old and new aud as
we shall see he was superb in 4i Dui Punish" or
conflict of two generations, the drama with
which his drama of life also came to a close.
In 1937 Messrs. Krishna De, Jamini Mitra
and Eaghunath Mullick (Godai Mullick's son-in-
law) took over charge and commenced with
"Abhishek" on May 15, 1937 with Durgadas as
Bharat. After Sachin Sen Gupta's 'Pralay' with
(Durgadas as Kubja), 'Detective', and ''Bandini"
were staged, Sachin Sen Gupta's "Swami Stree"
was staged on Dec. 24, 1937. Durgadas Babu
Its Lalit was popular, supported by Ranibala as
Lily, Jahar Ganguli as Mohan, -Usha Devi as
Minoti, Sontosh Sinha and Padmabati as Mr*
and Mrs. Das. Mr. Das was really natural.
After four nights of Swami Stree, theatre
was closed. But Mr. Godai Mullick came to
help and it continued.
317
After "Meghmukti" was staged on July 13,
1938, with Jogesh Babu as Prof. Ghosei Saohin
Sen Gupta's Tatinir Biohar was put on boards
on Deo, 24, 1938 with Mr. Ahin Choudhury as
Dr. Bhose, supported by Banibala as Tatini,
Batin Banerjee as Basanta, Jahar as Samar,
Padmabati Lalita, Bajlakshmi as Krishna-
bhamini. All these parts were acted well but
the chief attraction was Ahindra Babu who was
really wonderful in this role,
The above three lessees left and Amar Ghose
agptin took up the management when the follow-
ing pieces were staged under the direction of
Prabhat Sinha :
On 1939 May 20 Makarshar Jal (Jogesh
Choudhury) was staged with
Durgadas as Smarajeet, Monoronjan as Suren,
Santi Gupta Suniti, Prabhat Singh Bhudor
Mukherjee.
On 1939 July 5, Dr. Miss Kumud (Ayesh
Kanti Bakshi)
Samiron Bhumen Boy, Dr. Miss Kumud Santi.
Bidhyak's two more pieces were now j>ut on
boards one was Mateerghar stagecj on Septem-
ber 9, 1939 with :
Durgadas Alaka, Monoranjen Satyaprasanna,
Santi Gupta Chhanda, etc,
3i8
^ The next was "Beesh Baohhar Age" (a
crirno"Sooial piece) staged on Dec,27,1939 with
Pr&bhat Sinha Deepak (acfcor), Bhumen Boy
Pfcaclip, Santi Gupta Tamasha, Monoranjan Dukha-
dahan.
Mr. Durgadas was to have taken the part
of Deepak, but he left the concern in disgust,
Amar Ghose then brought Messrs. Ahin
Choudhury and Babi Eoy in Ashutosh
Bhattacharjee's 'Agami Kal' staged on May 15,
1940. The following persons appeared:
Umaprasanna Ahin, Madhab Babi Boy, Bimal
Bhumen Eoy, Srinath Krishna Chandra De.
Bidhayak "Mala Bai" was staged on 14th
August 1940 with Naresh Mitra as Mr. Sen and
Santi Gupta as Mala Bai, Ushabati as .Mrs. Sen,
Babi Boy as Abinash.
On December 14, 1940 ^Ghurnee" (Gour-
shee's crimo-social piece, was staged with :
Ahin as Prabhakar, Bhumen as Sagore, Babi
Boy as Bunoo Sardar, Santi Gupta Bharati.
After "Batna Deep' 1 dramatised by
fiidhayak from Prabhat Mukherjee's novel was
staged on Dec. 24, 1940 with Ahindra as
Khagendra Sonar hareen, Santi Gupta
Kanak> Bibumee Jloy-rr-hero,-n-Bungmahal was
again closed.
319
Jainini Mitra again took up the management
with the help of Durgadas and opened Kapal
Kundala on June 21, 1941 with Durgadas as
Navakumar. He also appeared as Sate&sh in
Charitraheen with Rabi Roy as Upon.
After three new pieces were staged
(1) Rakterdak with Durgadas as Suhash on
July 12; 1941.
(2) Tulsi Lahiri's 'Mayerdavi' with Durgad&s
as Bikash, Santi Gupta as Karuna, Tulsi Lahiii
as Bolaki and Satya Mukherjee as bearer on
October 1941, and (3) ''Tumi Ami" on 3rd
Dec, 1941, Mr. Mitra took leave of Ruagmahal.
In 1942, Mr. Sarat Chattefjee (who w&s an
actor of Upen Babu's theatre for a pretty long
fcime) % took lease of the theatre with the help of
a relation of his. After the latter fell into Some
difficulties, Chatterjee himself began to control.
Jivanpathe was staged in February and Dhiren
Mukherjee's Sroterphool on March 19, 1942,
Messers Ahin Choudhury, Sontosh Sinha, Ratin
Banerjee, Bijoy Kartik Das, Sm. Ranibala and
Suhasini joined Rungjnahal. Ahin Babu was
in charge of direction and put Mr. Mohendra
Gupta's "Michael" on Jun 5, 1942. The play
* On the 100th performance, the author of this
book had the honour to preside at the function and
distribute prizes to artists.
320
with Ahin Babu In the leading role along with
Banibala as Henrietta was a success, and-
although Bhaduri's Michael was culturally supe-
rior, Eungmohal got better sales and Ahin Babu
as usual performed his part with heart.
The next piece Ayes Kanta's "Bholamaster"
staged on Dec. 17, 1942 commanded still better
sales and insured Ahindra Babu's popularity all
the more. The play is of two acts, the first one
being devoid of interest and in the second
Ohoudhury with appropriate make-up, character-
istic of him, carried the audience night after
night but in Bholamaster, Shajahan and
Chandra Babu now and again seemed to peep
through. Rezia was next revived with Banibala
ta,s Bezia. 'Sunny Villa' was the X'mas
Pantomime.
In Feb. 1944, Ratin Babu and Ranibala left
for Minerva and Amal Banerjee and Santi
Gupta came here. But the most unfortunate
thing is the long absence of Ahin Babu owing
to his illness from Malaria. We wish him back
on the stage. Never in his career, did he ever
put the audience to any cause of annoyance. He
is a popular and powerful actor and his make-up
is the best on the Bengali stage.
'Rainer Surnati' under the direction of Mr.
331
Satoo Sen staged in Jan 22, 1944 with Suh&siai
as Narayani was attended with success.
Mr. Ayes Kanta Bakshi's "Adhikar" is the
last piece staged on Sop, 14, 1944,
IV NATYA-BHARATI
Naya Bharati was started by Eaghunath
Mullick, who was some time ago lessee of
Eungmahal. It opened with Tatinir Bicha* on
Aug. 5, 1939, and became a place of attraction
when Ah in Babu joined it on Oct. 14, 1989.
After Nazrul's opera "Madhumala" gave
some entertainment, Sachin Sen Gupta's drama
''Sangram O Santi" was staged on Dec. 23, 1989
wifrh Ahin Babu as Chandra Sekhar> Batin
Bauer jee as Abinash, Jahar Gangoolee as Nitya-
nanda, Santosh Sinha as Manohar Bay and
Banibala as Protima.
Ahindra Babu left for Bombay on Aug, 3,
1940, just after he appeared as Dr. Bikrama-
ditya in Sen Gugta's Nursing Home with Bani-
bala as Kuntala, (staged on 13-6-40), and Nirma-
lendu Lahiri took his place appearing as
Madhab Boy in Jaladhr's Sithir Sindur on
Aug. 24, 1940.
The next piece of attraction was Jaladhar's
P. W. D. staged in Oct. 1, 1940, in which
Durgadas Banerjee took the part of Mr. Sen,
41
322
Nirmalendu Lahiri of Eai Bahadoor, Eatin of
Soumen, San tosh Singha as Sanat and Eani-
bala as AnjalL
Ayes Kanta Bakshi's "Eehearsal" was put on
boards on 28-5-41 under Durgadas Baner jee's
direction with Durgadas as Natanath and
Ahindra Choudhury as Kumar Bahadoor.
Durgadas Babu left and Ahin Babu mounted
Monoj Bose's Plavan on July 24, 1941 with
himself as a Nilamber Eoy, Eatin as Kamalesh,
Santosh Singha as Brojalal and Eanibala as
Nisarani.
Mr. Mohendra Gupta's "Kankabatir Ghat"
Staged on Sept, 25, 1941 was the next success,
but Mr. Baghunath Mullick transferred his
interest to one Mr. Muralidhar Chatterjee and
Mr. Sisir Mullick as working partner began to
manage the Theatre. Ahin Babu, Eanibala
Santosh Singha, Eatin Babu left for Eang-
potahal and a new set of artists came, with whom
Mr, Mullick opened the first new drama "Dui
Purush" of Tarasankar Banerjee on may 28,
1942 with Jogesh Chandra Chowdhury as
Shibnarain, Eabi Eoy as Mahabharata,
Naresh Mitra as Gopinath, Ohhabi Biswas as
Nutbihari Jahar Gangoolee as Sushobhan,
Probha Bimala, and Anjali Eoy Kalyani All
the parts were done well, especially Jogesh
3S3
Babu who was at his best and exemplary. Bufc
the success in the part was soon followed by
his sad death and Monoranjan Babu appeared as
Sibnarain after the fiftieth performance*
Patherdak of Tarasankar with Naresh Mitra
as Eaibahadur, Jahar Gangulee Nikhilesh
Biswanath Bhaduri Dr. Chatterji, Mihir
Bhattacharya as Atul, Babi Eoy as Bhaktararn,
Prabha as Jyotirmoyi and Bechu Singh as Jatin
was staged on Jan. 8, 1943.
Prabha was very natural and she approached
now the correct standard in social dramas after
so many years. After Profulla and some pieces
were revived, Debdas dramatised by Sachin Sen-
gupta was staged with Jahar as Debdas, Babi
Boy as Dharmadas, Naresh Mitra as Basantai
Biswanath Bhaduri as Bhuban, Sefalika
Chandra Mukhi and Saraju as Parbati.
"Dhatree Panna" was the last drama staged
in 1943 with Saraju in the main role,
Probha as Sital Sena, Babi Boy as Jagmal and
Jahar as Banabeer. Saraju and Probha did
wonderfully. Others also did well.
"Natya Bharati" after showing performances
for some time under Mr. Sisir Mulliok met with
a sad fate. The lease for theatre was not re-
newed from 1944 and it has now become a
Cinema House.
324
We are really sorry that a disciplinarian like
Mr, Sisir Mullick had to discontinue theatre for
want of a stage. Regular in payment of
salaries and a perfect gentleman, he tried
various improvements and had also many
projects in mind. Mr. Satoo Sen was his
able help-mate here as well.
MISCELLANEOUS.
I. MITRA THEATRE,
Babus Jnanendra Mitra and Sisir Kumar Mitra
brother and son of late Babu Mohendra Kumar
Mitra with the help of Babu Sisir Kumar Bose
opened Mitra Theatre at the Alfred stage with
Barada Das Gupta's Sree Durga on April 2,
1926. Sales for the first two nights were un-
usually high but Hindu Mussulman riots in the
locality affected those considerably and per-
formances had to be suspended for a fortnight,
Tara Sundari was in the main role supported
by Nirmalendu Lahiri as Mahishashoor, Prokas
Mustafi as Indra, Kusum Kumari as Kanakala
and Dhiren Gangulee as Kuttus.
Kshirode Babu's Joyasree and Bhupendra
Baaerjee's Derby Ticket were the new pieces
put on boards and Qhandrasekhar, Jaaa>
^ra,^paditya, Bibahabibhrat, Alibaba awl
Bhramar revived. In the last piece Nafeyaoharya*
325
Amrita Bose was in the role of Krishnakante
and Nripen Bose Haria. Sometime after,
theatre removed to Monomohan Stage from
Nov , and with the help of Babu Kshetra Mohan
Mitra, # old pieces like Durgabati, Bangebargi,
Bajirao etc were revived.
The theatre after continuing for some time
came to a close in May 1927.
II. BENGAL THBATBES LTD.
"Maharastra" was staged at this Theatre
on Sept, 20, 1925 with Nirmalendu Lahiri as
Sadashiva and Kusum Kumari Gopika Bai.
At Ranga Mahal
85, Upper Chitpore Boad.
In 1934 July Mahamanab by Mani Banerjee
was staged.
Then "Bup Mahal'* staged here Jal&dhar
Chatterjee's Atmahuti in July 1935 and aehm
Sen Gupta's Abul Hassan in Nov. 1935 with
Durgadas Banerjee in the maib. role and Nerodft
as Ma Saheb,
In 1938, Uttara was staged under the
* Formerly Kshetro Babu did marTellously in
pieces esp, in the last when his JRanoji Sindhia
wonderfully acted with Suahiiabala as Gftutama and
Basanta as Mas tana (vide page
326
tion of Jashoda Ghose.
"Cheap Theatre" also showed some per-
formances at Dharamtolla Street.
Art theatre introduced new dress with
Karnarjoon as an improvement p. 181.
Addenda.
1. In page 17, Ananta Kao was done by Kisori-
mohan Kar not Badhamadhab.
2. In page 26, line 22, Mohit Goswami not Mohini
Mohan and acted the part of Govinda Das.
3. In page 201, Jahar Gangulee appeared as
Manash and not Monoj.
4. In page 274, Manjoo De appeared for Saswati
and not Sareswati.
5. Page 139. Mirabai is the work of Basanta
Chatterjee, not of Monmotha Boy.
6. In page 282, line 9, for Arati read 'Arnarabati/
CHAPTER xix
(Conclusion)
In the foregoing pages of different volumes,
we have shown how Girish by his indefatigable
labours and supreme genius had carried both,
the Bengali Stage and the Bengali Drama from
their crude beginnings to the astonishing
height of consummate perfection and how
Ardhendu Mustafi, Amrita Bose, Mahendra
Bose, Amrita Mitra, each one a host in himself
helped their great leader Girish, We have also
seen how on Girish's death in 1912, the Stage
sank into a low level.
327
Soon after, the popular actor Amareridranath
also breathed his last and the Bengali stage
grew stale day by day, when a new luminary
rose ' and promised to be its reformer. Babu
Sisir Kumar Bhaduri gave a new impetus
to the Bengali Theatres and became the
instrument to spur even Dani Babu from his
stupor. Like a meteor Sisir rose partly for his
skill and partly for the time that was in his
favour. No other actor or manager received
even a fraction of the help as Sisir got from
the Bengali public in money and sympathy.
No other artist also abused that trust so much
as Sisir had done. The result is that he fell
down also like a meteor within ten years of his
career and by 1932 when the old Dani Babu
died at the zenith of his glory and fame, the
young Sisir had fallen into discount. The
next, few years no doubt saw Sisir emitting
now and again flashes of light, but to all
practical purposes he was more a fallen man.
Then came the time of Talkies and Theatre
was in discount. But Bengal knows how to adapt
itself to circumstances and has thus made -Stage
a practical imitation of the Talkies. Theatre
is no doubt popular but it is no longer our
national institution. The great Deshbandhu
wanted to have a National Theatre but it is
today a nursery of revolting foreign ideas and
sentiments that have greatly lowered the public
tastes. Except the Star Theatre we have legi-
timate grievances against all theatres.
At such a time Babu Khetra Mohan Mitftra.
once a brilliant actor but then a retired man,
rose from his life of inaction and once again
328
as if through message from above, started Girish
Parishad to stage the great dramas of Girish and
those of others of the same school. Mitter
however had no money or stage but with a
determination backed by the help of a few
highly cultured gentlemen, with whom the
present writer hear oily co-operated* staged the
great social tragedy of Girish on four occa-
tions on the boards of the Minerva Theatre,
and proved to demonstration how Girish's
dramas are ever new and of undiminished
interest as any other modern drama of real
merits and how the art of acting does not
consist in the unnecessary and restive move-
ments of the body, or bioscopic gestures, nor in
straining the vocal organ to its highest pitch.
Karunamoy and Saraswati, Dulal and Matangini
Ghanosyam and Jobi of Hitter's Parishad as
represented respectively by the present writer
and Susila Sundari, Kanai Sankar and Giribala,
Bankim Efhattaoharya and Ascharyamoyee were
not acting on the stage but appeared*as if men
and women of the middle-class gentry talking
and acting in their practical lives. The sudden
death" of Mitter (on July 29, 1944) has, however,
proved a staggering blow not only to the
Parishad, but to the revival of the Bengali
Stage. Heaven alone knows when the Bengali
Stage will again attain its former position and
glory not simply as a place of mere amusement
but as a temple of education and culture that
will take a prominent part in awakening the
national consciousness of the people in every
.sphere of life, social, political and religious.
INDEX.
Amrita Bose 16, 35, 40,
41, 64, 83, 85, 96, 99,
102, 103, 126, 153, 165,
166,188, 191, J 93, 326.
Amrita Hitter 40, 153,
156, 161, 164, 167, 169,
172, 176, 326.
Amar Datta 6, 12-24,
35, 59, 74, 84, 86, 112,
124, 133, 149, 150, 156,
161-175, 327.
Amar Bose 312, 313.
Abanindra Tagore 188,
253-255.
Amala Devi 151.
Amalendu Lahiri 291-295.
Ardbendu Mustafi 4, 6,
11, 24-28, 31-35, 40-48,
51. 140, 155, 161, 212,
228, 326.
Abindra Cboudhury 104,
139. 181-192, 202,274,
275, 294, 295, 303-306,
317-323.
Abin De 53, 64, 76, 79,
122, 133-
Anurupa Devi 192, 303,
814, 311.
Aparesb Mukerjee 26-40,
74, 85, 93 99, 125-130,
176-199, 260, 303, 181-
200, 316.
Ascharya 38, 95, 96, 134-
135, 175, 185, 189, 292,
328.
Agbor Pathak11, 115,
116,118.
AtuiKoy 5, 6,121.
L Chakraborty 68,
60, 86. 116, ,
169,171,172,
Angus 11, 50, 94, S9.
Atindra Bhattacberjee
115, 118/171.
Amal Banerjee 108^206,
320.
Angurbala 101-103, 106,
196.
Ayaskanta Baksbi 204,
317, 320, 321, 322.
Aksboy Koer 40, 153-157
Asraantara-103,-105, 315.
Abinasb Gangulee 94.
Abinasb Pandit 150,
Asbu Bose 196, 200.
Atul Gangulee 33.
Asoka Sastri 33, 250.
Amitava Bose 287.
Atal Ear 43.
Ananga Haldar 176*
Atul Krisbna Mitter 50.
74,145.
Anjali Boy (S.B.)322.
B.
Bankijzn Cbatterjee 8, 9,
10, 25, 37, 113, 114,
116, 145, 143, 176, 252.
Blackie 17, 121, 124, 146.
313;
Bhusan Kumari 12.
Do. Jr. 40, 43, 130.
Binodini (Handi), 124,
131.
Basanta Kumari (Star)
133, 134, 84, 155, 1Q4 9
166, 161-170, 177, .
Beni Boy 6, 6 1% 16, $9.
a
Bitumen Boy 103, 108,
207,208,204,313, 314,
318.
Behari Duti 148, 149.
Binodini (Prima-donna)
212.
Barada Das Gupta 99,
101, 103, 106, 148-324,
Bedana 105.
Biswanath Bhaduri 203,
295, 323.
Beoha Chandra 295, 297.
Bhujanga Boy 260,
Belarani 295.
Bejoy Kartic 312, 319.
Bidhayak Bbatt 108.
308, 309, 317, 318.
Bhulo (Sontosh Das)
181, 190, 191, 194.
Brojen Sarkar 185, 290.
Bandmann 212-219.
Bitough 213,
Britton, Miss 217, 218.
Behari Lai Chatterjee
145, 171, 173, 176.
Bhupen Chakra 207-8.
Bhupendra Bose 34, 82.
Bankim Bhatt. 38, 328.
Bhutnath Mukerjee 38,
Bel Babu 212,
Bishnoo De 168,
BimalPal-304.
Bhupen Banerjee 99.
101, 102, 104, 167, 171.
172,175,176,024.
Bhudeb Bhafcta. 241.
Burdwan( Maharaja) 81.
Broja Gopal Das 279.
Brajefi Gangulee282.
Balliwalla~280, 231.
Chnni Deb 4, 5, 6, 11,
15, 11, 19, 20, 22, 24-
28, 36, 50, 72, 78, 113,
119,134,135, 147-150,
'173, 178,179.
C. B. Das 72, 87, 101,
146, 151, 187, 268, 281.
Chandramadhab Ghosh 34
Charushila 68, 69, 71,
94, 97, 98, 105.
Charubala 185, 130, 173.
Charubala 1132.
Charubala III 305, 313,
312, 311,
Chhotarani 12, 19.
Chapala Sundari 34, 61.
Chhabi Biswas 110, 322.
Chandi De 113, 115.
Chandi Banerjee 107.
Caird, Miss 216.
Chhaya Devi 305.
Dufet B. C. 8, 9, 63, 165.
Dhiren Mukherjee (Star)
168, 171.
Dhiren Mukherji 107, 204
Dhiraj Bhattacharji 314,
315, 318.
Dani Babu 11, 17, 20,
31, 32,35,41, 43, 46-
51, 62, 65, 68, 71,76-
79, 85, 92-97, 113-118,
123, 127, 133-147, 156,
161, 182-200, 288-293,
301-302,327.
Db armadas Sur 125.
Dhiren Gangulee 324,
iii
D. L. Roy- 31, 35, 39-41,
50, 58, 60, 62, 63, 76,
97,98, 147, 154, 157,
167, 169, 170, 261, 267,
286.
Dinendra Tagore 188,
253, 256, 258.
Dakshina Sen 125.
Dhirendra N. Roy 312.
Deberr Bose 93, 176.
Durga Bhatt 250.
Delwar Hossain 107.
Durgadas De 4, 6, 7.
Dinabandhu Mitra 276.
Durgadas Banerjee 108,
109, 143, 144, 181-183,
189, 193, 302, 316-319,
322, 325.
Durgaprasanna Bose 185,
190, 191.
Deb Kanta Bagchi 116.
Dhiren Mitra 272.
Dorabji Mehb walla 231.
Dadabhai Sarkari 232.
Erric Elliot 295.
Feroza (Neni) 185, 188
Feroza 110.
Fanny Anson 211.
Fred Ellis 315,
Fraser Sir Andrew 265.
Gopal Bhatt. 168-173
Goursfcee 318. i
Giri Mullick 146, 147,
176,177.
Godai Mullick 179.
Gulphon Hari 115
Gopal Lai Seal 17.
Govinda Pallav Pant 126
Gurudas Banerjee 34> 84.
263, 267.
Goutam Sen 108
Ghonosyarn De 168.
Giribala 38, 328.
Gostha Chakraberty 115.
Guruprasad Maitra 145
Gupta J. N. 99.
N. C. 37, 107, 108,
110, 111.
Jogendra 279,281,282.
Bepin 207, 208.
Gohar 281.
Gouri Devi 257
Gertrude Godart 220.
Gispati Boy 247, 248.
H
Hernen Mozumder 107.
HaribhushanBhatte-^113,
115, 118, 48, 60, 62,
64, 124, 68, 71, 76, 78,
79, 94, 171.
Haranath Bose 129, 134,
124. - ,
Hemendra Boy 301.
Haripada Mukherjee 130,
Harding Charles 221.
Handu Babu 17, 19, 25^
26,33,40, 43, 60, 53,
125, 127, 76, 78, 130,
79,99, 101, 108, 171,
173,179,198.
Hemendra Das Gupta 270.
Haripada Sanyal130.
Hiralal Chatterjee 105,
113, 133, 135, 60, 64,
124, 51, 76, 77, 79, 85,
92, 194, 313.
Hem Chandra 25.
Haraprasad Sastri 262,
265,247.
Haritnati -151.
Haran Eakshit 156.
Harimoti frN^ 110.
Hiralal Dutt-40,155, 164,
168,171, 173.
Hmganubala 11, 25,
Haris Chandra 227.
Harimati (Birai)--20.
Haridas Chatterjee 179,
271.
Heinendrq. Tagore252
Hemanta Kumari -43, 50,
61,, 68, .71, 72,95, 94.
Haridas Sid 247.
Honitt 171,219, 220.
Haralal Dutt-40, 164.
Harish Mitra 277.
Hemanta Sen 283.
Diitta 43,48, 50,
60.
I
Indiral De^i 254.
Ia4u Mukberjee 188, 188
T 19S^; 196, 201, 311, 312.
Ilidab^la-143, 144
Impey, EUia 16, 163.
Tagore-^252.
Juatikali B 34, 43.
Jaladhar Chatterjee 106,
107, 104, 103, 140, 303,
321,202, 311.
Jagattarini 221, 161.
Joysankar Prasad 226.
Joynarain 105, 206-208.
Jagadananda-r-255.
Jivon Pal 32, 33, 48.
Jiten Ghose 168.
Jivon Gangulee 195, 205
304, 287,293.-
Jahar Ganguly 113, 312,
321, 322. 323, 196-201,
305.
Jatin Sinha -801.
Jogesh Chowdhury 287-
822 152.
Joshoda Ghosh 304, 306.
Jainini Mitra 311.
Kshirodeprosad 131, 134,
57, 125, 93, 96, 98, 154,
156, 16, 157-158, 285.
Kshetra Mitra-19. 20, 25,
26, 33, 38, 40, 43, 44,
59, 53, 75, 110, 130,
131, 135, 125427, 85,
93, 95, 147, 152, 168,
170, 173, 175/176, 325-
328,
Kiran Datta^-81,262, 264.
Kaliprasatina Das 131.
Kanakendta Narain 190
191, 230.
Kali Chandra Banerjee
11, 20.
Kandi ! Sttrkar-^828.
Kartic De S9, 292.
fosori Mohon Ear <17.
Kusum Kumari 12', 52,
53, 113-118, 131, 134,
121, 122, 124, 165, 171,
172,173,173,176, 192,
194, 292.
Krishna De 309-311, 316
Kironbala 116,26,32,53,85.
Kironshashi 53.
Kamakshya 301.
Krishna Das 111.
Kohinoor Bala 166, 168.
KhatacTK. P. 228, 229.
" J. C. 230.
Kankabati 203, 204, 307,
293, 295.
Kunja Chakra 105, 98,99,
101, 102, 103, 161, 168,
169, 171, 173, 174, 175,
192.
Kusum (Bishad) 19, 20.
Kunjalal Nag 272.
Krishnadhan Mukerjee
313.
Kumar Mitra '141.
Ktimudim-468, 191.
Kanu Banerjee 203, 204.
Kanti Mukherjee^202.
Konoksarojin 228. c
Kohinoor Bala 166, 168.
Kasi Ghatterjee^-40, 155,
168,169, 17'4.
^shiti Mohon Sen 255.
Kshitiah Chatfcerjee 257.
Kartic De 53,, 101, 103,
1,02, 166, 168, 169, 173
202.
Kshetromoni T)$yi~155
157,212.
Ktfehnabhamini 179, 1BI
199.
Lalit Maitra 112.
Lalit Mitra 20.
Lalit liahiri 285-287.
Laboyna 110.
Light 106, 205, 302.
Lakshmi Mukerjee 169,
176, 173.
Lakshmi Mitra 271.
Lehedeff- 210.
Lang 211, 217, 219.
Lewis 211, 212.
Lytton 249.
M. ;
Mujibor 21.
Monidra Ghosh(feoy) 109*
Monidra Nundi 5, 6-
Moni Banerjee 107, 143,
171, 175.
Monomohan Pandey 17,
19, 21, 22, 24, 27, 41,
59,72,73,74,89. 120,
133-135, 90-93, 97, 148.
Mono Goswami 19, 21,
191, 122, 869, 170, 176,
171. 175.-
Mohendra Bose 4, 13,
114,115,228. "'
Mohe^dra Mitra 19,. 1$
15, 16, 19, 24, 40, 41,
73,74,75,89,73.
Mftkhan Sen 382.
Monoronja& Bliafct^-110,
315-311, 025, 19^1 195,
200- 4 J02 301, 803,
287,289,296.' :-;0
Mahendra
^ 107, 319, S22, 336,
269, i.
Montu Babu 9, 25, 26,
32,40,43, 47, 50, 53,
86.
Mohit Goswami 26.
Madhu Bose 273, 275.
Mrinalini 168.
Merbury Miss 295, 296.
Mohendra Choudhury
155, 164.
Mahatap Ghosh -100.
Monomohan Boy -101,
Moni Ghosh- 144, 305.
Mritunjay Pal 64,
Monorama 305.
Moni Gangulee 286.
Monomohan Rai Saheb
38, 145.
Monjoo De 326.
Monmotha Boy 139, 143,
844, 192, 326, 273, 274,
308,304,306212.
Mihir Bhatta 308.
Malina 308, 309.
Neroda 103,110, 68, 76,
79, 94, 91, 176, 117.
Nagendra Banerjee 270.
Nripcn Base 113, 1I&,
116,50, 53, 122, 124,
68,171,173,174,325,
Nikhil Deb 11,25,122,160
Nazrul-r802, 321.
Nirupaffia 105;
Nagen Mukherjee 155,
163,305.
Nagen Mmkherjee^4, 7.
Naendra Bala III 131.
Chandra 179, 310.
N, Banerjee 133, 134, 40,
47, 50, 53, 60, 76, 93,
95.
Niharbala 133, 181-191,
801-307, 147, 148.
Nivanani 188, 189, 308,
312, 107.
Naren Sarkar 6, 7, 13,
15.
Nandarani 191.
Nirnml Sib Banerjee
283 177, 184.
Navotara 100.
Natabara Chowdhury 118
Nripesh Boy 310.
Nirmalendu Lahiri 107;
109, 110, 111, 139, 140,
142, 143, 144, 321, 322,
301-306,181, 185,190,
311, 292.
Nanilal Dutt 76,155,164.
Nirmal Gangulee 48.
Nibaran Dutt 260.
Naresh Sen Gupta 101,
Nilinadhab Chakraburty
43, 44, 48, 50, 53,145,146.
Noel Coward 224.
Nabin K. Bose 210.
N. N. Ghosh 34.
Nagendrabala ( I ) 101,
102, 103. ^Jlf5ppli
Nagendarbala 1132, 50.
Nishi Kanta Bose 137,
140.
Nityabpdhvid 231,
Nagen Ghosh 34, 43, 47,
50,53,60, 64, 68, 92,
93,98.
Nritya Gopal
246,153.
Vll
Nari Sundari 74, 76, 78,
79, 84, 85, 97, 165,
170,171,155.
Noni Gopal Mallik 181,
191,201.
Naresh Ghosh 192.
Naresh Mitra 100, 313,
318, 322, H23, 305,
181, 183, 260[ 265-267,
312290.
Preonath Ghosh 11, 17,
50, 53, 60, 64, 65, 69,
71,76, 77, 78, 70,92,
94, 99, 146, 184.
Probodh Bose- 173, 176.
Probodh Ghose 115, 148.
Probodh Guha 139, 176,
180, 301, 302, 305, 306,
217.
Probha-322, 323, 287,
293, 295, 315, 203, 307.
Purna Ghose 113, 124,
179.
Prativa Devi 252.
Phani Gupta 277.
Promoda(II) 130, 131.
Promoda Sundari 12, 113,
118.
Promatho Bhatta -96,
P. Mitter162.
Prabhat Mukerjee N 318
. R-275
Prabhat Ring- 105, 317,
318,209.
Profulla Sen 181,185,191.
Punturani 11, 17, 124,>
171.
Pannarani 70, 121, 124,
168.
Pearson 255.
Prakasmoni 48, 60, 53,
60,62, 64 5 71, 79; $5,
92, 94, 95, 101, 189,
14i; 147, 310.
Putli 229.
Padmabati 316, 317. 201,
Probhabati Devi 304.
Eabindranath 170, 171,
187-191, 289, 290, 291,
292, 293, 305, 202, 204,
223, 251-269,
KabiRoy-140, 143, 309-
312, 313, 317-322, 267,
304-307.
Rabinda Maitra 201.
Ranibala-38, 110, 111,
302, 203, 204, 317-322.
Rani Sundari 84, 166,
168, 171, 185, 188, 190.
Rani 166, 168.
Ranimoni 118.
Renubala 100, 813.
Rangin Haider 281.
Ratin Banerjee 39, 110,
111, 312, 204, 317,822.
Radha Charan Bhatt
295,189.
Reed- 295.
Raghunath Mulltck 816,
321.
Ramlal Cbakta 277.
Radhamadhab Ear 64, 65
Ranjit Roy 808.
Radha Ki3sen Ear 118.,
Ramkrishna Roy 275,
Rajani K. Sa0r-65.
Ramlal Ban erjee 146.
V11I
Eamnarain Tarkaratna
,?;; 211.
Radftikananda Maker ji
104, 181} 183, 188, 189,
190,191. '
Eenuka Roy 305,
Bajlaksmi 192, 196, 204,
317, 305.
S
Sidney T. Pearse 217.
8nehalata-~30 (F. N.)
Sisir Bhaduri 36, 136,
139-148, 180, 185, 260-
267, 293-303, 204-308,
320, 324, 327.
Sisir Bose 324.
Sisir Mitra 89, 93.
Sisir Mullick 311, 322-
324.
Sisir Boy 59, 128, 129.
BHsh Chakra 267.
Suhashmi 312.
Souren Mukerjee '93,
115, 194, 274,
Sadbana Bose 273, 275.
cSiftal Pal 203.
Sripada Mukerjee 103.
Srish Bose 220, 200.
Srish Chatterjee 266,
267, 295, 297.
Surendra Banerjee 104.
Suren Boy 104, 196.
Subashini (Malini) 43.
Subashim 100, 101, 139,
141,192.
Subal Gbosh 196.
Subbas Boe 249.
Sudhir Bato-106, 205,
303, 806.
Suzanne 221.
Sunity Chatterjee 249.
Suruchibala 298.
Sylvan Levi 242.
Sudhirabala 3k5, 33, 40,
43, 48, 50, 53, 64, 105
'107.
Susilabala-38, 40, 43, 46,
48, 50, 53, 59,61,62,
64, 68, 69, 71,74,75,
84, 85, 166, 168-170,
172.
Susilabala Jr. 190, 193,
196, 201.
Sushila Sundari-38, 99,
144, 185, 187-190 328.
Sachin Sen Gupta 108,
111, 140, 144, 203 f 205,
302, 304, 317, 321, 323.
Sakbaram G. Deosker 54.
Sam Sundar Das 226.
Santabala 192, 194, 196.
Sj. Sarat Chatterjee 104,
105, 116, 110, 176, 203.
Sarat Chatterjee (actor)
205, 319.
Sarat Bai 59, 125, 123,
131.
Sara Bernardt 146.
Sarada Mitra 34, 83.
Sarala (Benki) 38, 295.
Sarajubala (Star)- 155,
Sarajoo 110, 139,140,141,
144,303, 304, 323, 306.
Sarojini (Bimola) 11, 20,
33, 15.
> Sarojini (Neri) 61, 62, 68,
71,70,94,96.
Sarat Ghosh 101 ; !
Sarat Sundari 2QL >
IX
Sashitnukhi 133, 134,
53, 92, 103.
Satish Sen 119.
Satish Banerjee 21, 68.
Satoo Sen 294, 296, 302,
3 JO, 312, 321,324.
Satyen De 48, 50, 62, 64,
68, 79, 93, 101, 138,
141.
Satyen Gupta 203, 303,
Satyen Das Gupta 247,
g. N. Das Gupta 281.
Satkari Gangulee 48, 68.
Satis Ghatak 104, 105.
Santaseel 203.
Santi Gupta 108, 312,
313, 317, 818, 305.
Santosh Sinha 319, 321,
322.
Sadhona Bose 190, 273,
275.
Sailen Choudhury 203",
204, 291, 292, 295, 308.
Santosh Sinha 191, 195
Saraswati 190, 191, 194,
200, 201.
Sarat Chakra 118 PN
Sashi Bhusan Bose 168.
Satya Mukerjee 319.
Sale 12.
Sonamoni 135,
Satyen Tagore 254.
Befalika 88, 204, 301,
303, 323, 310; 313,
Shelly Banerjee 16, 41.
Tarak Palit 26, 29, 43,
44, 46, 47, 50, 53, 60,
62, 54, 74, 94-98, 172,
176, 13.
Tara Sundari 17, 24-32,
40, 43, 46, 47, 53, a3,
78, 85, 92 94, 96-98,
115-117,126,164, 176,
179, 180, 192, 324.
Tilak 44.
Thakurdas Chatterji 11.
Tincowrie 4, 10, 15, 46,
48, 68 t 78, 79, 85, 113,
115, 120, 126, 134, 194,
149, 152, 161, 170, 187.
Tincowrie Jr. 68, 71
Tincowrie Chakraberty
181-194, 260, 261.
Tarak Das Gupta 281.
Tulsi Banerjee 101, 181-
183, 193, 194.
Tulsi Chakra 192, 195
Tulsi Lahiri 319.
Tarasankar Banerjee 322>
328, 283, 307.
Tarak Das 280.
U
Upendra Mukerjee 22 23.
Upen Mitra, (Star) 85,
168, 169, 173.
Upendra Mitra (Minerva
and Star) 89-93, 97,
98, 100, 106, 107, 133,
177, 205' 209. >
Uma Mukerjee 108.
Ushabati (Fatal) 143,290.
Usha Devi 207, 316.
Uday Sankar 297.
Utpal Sen 811.
V Wood burn 262, 263.
Wilkie Allax 18-211,
Vivekananda -116, 118, 218, 219.
Von Schlegei 38, 109. Watts Miss 218.
W Z
Wilson C.R.262. Zerina 229.
Apologia
For a variety of causes, over which the
present writer had little /control, the last part
of this volume has been very concise, and
references insufficient. Headers are requested
not to take it amiss. Much of the ready
matter had to be left out. Details about indi-
vidual artists will be given as much as
possible in Volume V which will come out
immediately. Awaiting suggestions and co-
operation.
AUTHOR.
Addenda.
By the time the whole book was ready,
there have been some new performances on
the stages,
u Bandanar Bieye" by Babu Monoranjan
Bhattacherya was staged at Srirangam on
Oct. 26, 1944. Mr. Sisir Bhaduri has also come
back to the delight of the audience.
"Santan" by Banee Kumar will soon be
staged at Rangmahal under the direction of
Mr. Ahindra Chcwdhury.
"Kedar Boy" has been revived at the Star
with Mr. Rabindra Mohan Rai in the title role,
from September.
At Minerva, Sachin Babu's "Rastra-Bipalab"
was staged on Aug. 34, 1944 with Messrs
Nirmalendu Lahiri as Joy Srdgha, Chhabi
Biswas as Dara, Ratin Banerjee, as Aurangzeb,
Sailen Chaudhury as Shajahan, Sarajubala
as Roshenara and Ranibala as Jahanara.
Mahakabi Girish Chandra's l^Grihalaksmi' is
being rehearsed for performance.
Errata.
Page 244, 4th line, the word ''generally"
should he added, aa of late there have
been professional actresses in Madras
along with male artists to appear in
female roles. Amongst the mates, Mr.
Sambandha Mudaliar is a great artist in
female role.
Page 262, Part 2, 1st line, read 1287 B. S.
for 1234 B. 8.
tage 290 para 4, line 6, Mr. Biswanath
Bhaduri appeared as Krishna, not Mr.
Eabi Boy.
Page 294, line 22 the word 'India' should
be substituted by 'America*.
Page 309, line 22, 'Dipali' should be read,
but not 'Dipti*.
Page 309, line 24, read 'time' not 'write'.
Page 328, line 21, read 'Sarkar' for 'Sankar*
See also page 326.
Further suggestions are invited for the
next volume.
