BY JYOTHSNA HEGDE
Atlanta, GA, April 4, 2025: Dr. Raktim Sen’s staging of Raktakarabi ( Red Oleanders ), presented by the Atlanta Theater Workshop (ATW), was a theatrical tour de force that captivated audiences with its depth, intensity, and visual storytelling. This production of Rabindranath Tagore’s symbolic masterpiece was not merely a performance but an artistic endeavor years in the making, reflecting the director’s meticulous preparation and unwavering passion for Tagore’s work.
Set in the fictional land of Yakshapuri, Raktakarabi ( Red Oleanders ) tells the story of a kingdom ruled by an unseen, oppressive King. The land is dominated by an industrial machine-like system where laborers are reduced to mere tools, stripped of their humanity. The King, hidden behind his fortress, governs through greed and fear, exploiting his people for the relentless extraction of gold.
At the heart of this bleak world emerges Nandini , a vibrant and fearless woman who becomes the catalyst for change. She is not merely a romantic figure or a passive presence; she is the embodiment of life, rebellion, and an unyielding desire for freedom. Her arrival disrupts the mechanical order of Yakshapuri, awakening a suppressed yearning for dignity among the oppressed workers. Unlike the faceless, voiceless laborers, Nandini refuses to submit to the soulless system. She does not recognize the King’s authority, nor does she fear the guards who enforce it. Instead, she moves through Yakshapuri with an almost mythical energy—bringing light, defiance, and the fragrance of red oleanders to a land that has long forgotten beauty.
One of the play’s most striking lines comes from Nandini herself when she tells Bishu: “I have come to free you from here. I will break the golden shackles!”
This single statement encapsulates the essence of Raktakarabi—a cry against dehumanization and a call for a world where humanity triumphs over tyranny.
A character as complex and symbolic as Nandini demands an actor who can balance strength with vulnerability, defiance with warmth. Chaitali De delivered a masterful performance, capturing the essence of Nandini with remarkable depth. She radiated a captivating presence, effortlessly portraying the character’s fiery spirit and unwavering compassion. Whether she was engaging with the oppressed workers, confronting the guards, or leaving an indelible impact on the unseen King, Chaitali De’s performance was both commanding and graceful. She made Nandini feel both otherworldly and deeply human—an ethereal force of change, yet someone the audience could empathize with.
Her chemistry with the other characters, particularly Kishore (Saikat Nandy) and Bishu (Arunava Saha), added to the emotional depth of the play. In Kishore, she found love and devotion, while in Bishu, she discovered wisdom and kindness. Through every interaction, her Nandini remained unwavering in her quest for truth, unshaken by the oppressive forces around her.
Bringing such a philosophically rich and symbolically dense play to the stage was no easy task. Raktakarabi is not written in a conversational format; its language is deeply poetic and metaphorical. Dr. Sen, having spent years understanding and reflecting on the script, took on the challenge of making it accessible to a modern audience while preserving its essence.
Visually, the production was stunning. The set design spoke volumes—where the elite’s palace was represented as a vast, cruel alligator’s mouth, the miners’ world was reduced to three insignificant rocks. This stark contrast underscored the power dynamics at play, making the setting itself an active participant in the narrative.
The background score, composed by Dr. Sen, blended industrial harshness with emotive undertones, capturing both suffering and fleeting moments of joy. The sound of relentless hammering against stone, intertwined with occasional bursts of lyrical melody, mirrored the stark contrast between oppression and the hope that Nandini brought to Yakshapuri.
Although Raktakarabi has historically been regarded as a challenging play to stage—even Tagore himself faced difficulties with its production—Dr. Sen and his team demonstrated that the play could flourish in contemporary theater. Their vision and execution brought new life to Tagore’s masterpiece, making it both relevant and impactful for today’s audience. What truly set this production apart was its ability to break through language barriers.
Veena Rao and I, despite not knowing Bengali, were completely captivated by the performance. The emotions, the struggle, and the triumph unfolded on stage in a way that needed no translation—they resonated deeply, speaking directly to the heart. The actors’ powerful performances, the evocative visual storytelling, and the rhythmic flow of the play created an immersive and unforgettable experience.
One of the most poignant lines of the play, spoken by the King, captures his moment of realization: “I built walls to protect myself, but I have only imprisoned my own soul.”
It is this transformation—this breaking of chains, both literal and metaphorical—that makes Raktakarabi such a powerful experience.
Dr. Sen’s final reflection on theater as both an art and a responsibility are perhaps the most fitting conclusion to this review. Whether one is a seasoned actor or a passionate amateur, the moment an audience takes their seat, the performer’s duty is clear—to rise to the occasion. Raktakarabi was not just a play; it was a testament to this philosophy.
With this production, ATW has set a new benchmark in theater, proving that with dedication, vision, and respect for the craft, even the most challenging plays can be brought to life in the most extraordinary ways.
Cast And Crew:
Compère: Richa Sarkar, Costumes: Munmun Sen, Sarbani Samadder, Dance Choreography: Rai Dey, Props: Chaitali De, Sarbani Samadder, Tumpa Bhattacharya, Art Rina Datta Chakravorty, Tumpa Bhattacharyya, Prod. Assts.: Debatirtha Basu, Urvashi Betarbet, Animikh Sen
Set Building: Samrat Gupta, Surajit Auddy, Swarup Nandi, Sudipto Ghose, Subhadeep Ghosh, Anindya De, Raktim Sen Souvenir: Munmun Sen, Animikh Sen, Raktim Sen, Fundraising: Arunava Saha, Sudipto Ghosh, Subhankar Nath, Sanjib Datta, Raktim Sen, Stage Manager.: Samrat Gupta
Make-Up: Rina Datta Chakravorty, Sanghamitra Saha, Sarbani Samadder, A/V: Assistant: Niloy Bhattacharya, Photography: Shankar Sengupta
Videography: Gregory Job, Bishan Chandra, Additional Help: Kallol Nandi, Mallika Basu, Darshil Dharia, Box Office: Munmun Sen, Volunteers/Ushers: Aaryan Bhanushali, Aaryan Nair, Anjani Vishwareth Banala, Bharat Santosh, Kunsh Bansa, Mayasri Senthil, Omkar Gundala, Sathvik Maheshwarm, Vedangna Agarwal
Chaitali De (Nandini), Saikat Nandy (Kishore, A Miner Boy), Amartya Samadder (Adhyapak, Professor- A Material Scientist), Nindya De (Gokul, A Miner), Anindya Mukherjee (Raja, King Of Yakshapuri), Sarbani Samadder (Chandra, Phagulal’s Wife), Sudipto Ghose (Phagulal, A Miner, Chandra’s Husband ), Arunava Saha (Bishu, A Miner ), Debatirtha Basu (Sardar, Governor), Anirban Ghosh (Gosai, Priest), Sanjib Datta (Morol, Headman), Kaushik Basu (Chhoto Sardar, Assistant Governor), Animikh Sen (Puran-Bagish , An Antiquarian ), Subhadeep Ghosh (Gajju, A Miner & Wrestler), .Ritabrata Mukherjee (Chikitsak, Court Physician), Subhankar Nath, Angan Samadder, Arindam Chowdhury (Miners)
Background Vocals: Akashlina Sayed, Arindam Chowdhury, Arpan Banerjee, Ashoke Sarker, Bornini Chandra, Chandrima Bhattacharya, Dipanjan Banerjee, Moitri Sarker, Niloy Bhattacharya & Shubhadeep Roy; Musicians: Arindam Chowdhury, Ritabrata Mukherjee, Raktim Sen ; Dancers: Ankita Chatterjee, Ishani Ganguly Auddy, Sanchita Saha, Suchismita Mukherjee, Sushmita Nandi.
Editing, Direction, Background Score, Set, Lighting & Production Design: Dr. Raktim Sen.
