About the Play:
The play “Shesher Kobita” is a drama adoption from the famous romantic novel “Shesher Kobita” which was written by Rabindranath Tagore at the age of 67. Two cars coming from opposite direction suddenly collide with each other at the Shilong hill and barrister Amit Roy and Labonyo were introduced to each other there. Both of them got fascinated by seeing each other at that solitary hill. That results in love. That Labonyo, whose only aim was reading books and passing exams, suddenly discovers that she can love too. And Amit is like a golden skyline for the girls, in touch with them still can’t be touched. That Amit fell in the love for Labonyo. In Labonyo, Amit saw a different form of peace, a peace that doesn’t only come from the pleasure of heart, not only has the power of soreness, but also has the power of spirit.
Suddenly Amit becomes impatient about getting married with Labonyo. But Labonyo’s mind wasn’t giving the consent. She understands that Amit has an escaping soul, not someone ready for domestic life, rather wants fancy to fulfill his thirst. That’s why he wanders in the world of literature. Whenever Labonyo touched his mind even for a little, it spoke up relentlessly. But when her minds will get tired, when there will be no more words to say, then that silence may show him that Labonyo is a simple girl. That fear revolves in her mind. Labonyo says to Amit, “One day I will fall down far from you in the journey of going along with you. That moment, you won’t call me back. I won’t blame you that day. Whatever I’ve got from you, they will be enough for me even for the last day of my life. Don’t wish to marry me.”
Correctly at that point of time, when the marriage between Amit and Labonyo were in uncertainties after a lot of arguments and huff arrogances, Amit’s sister Sisi arrives there at Shilong with her friend Ketoki and her brother Noren. Amit had a fascinating relation with Ketoki while they in London and Amit gifted Ketoki a ring with love at that time. Ketoki leaves the Shilong Cherapunji in anguish when she hears that Amit is going to get married with Labonyo, Amit also goes with due to Labonyo’s request. Labonyo also returned her enagement ring to Amit, which means Amit gets refused by both of them. He finds nothing about what to do.
Returning from Chrapunji after a few day, Amit finds that Labonyo has left Shilong. There was a lock on the door with no hints of her next destination. Amit goes back to Calcutta. After a while, eventually Amit gets married with Ketoki and after a few dyas of that Amit receives a letter from Labonyo. There was a news about Labonyo’s marriage with Shovonlal in one end of that letter. When he was completing her M.A. degree, Shovonlal used like her a lot, loved her. Still, because of shyness he couldn’t say anything whenever Shovonlal met with Labonyo. At the other end of that letter, there was a long poem, just like long flowing sigh.
Director’s Word:
Those who have interest in Rabindranath’s play, may be they all have a hidden desire of working on the plays like “Raktakorobi”, “Dakghor”, “Bishorjon”, “Ghore Baire”, “Ocholayoton”, “Raja”, “Shesher Kobita” etc. Plays can be done, but the problem that has to face first when converting a novel into a drama is- while reading the novel, the illusion it creates or the poetic flavor it delivers or the way the wings of imagination spread, those wings of imagination can’t be spread on a stage in the same way. Especially, the love that flourishes in the readers of every age when they go through the novel “Shesher Kobita”, how can I ascent that love on stage? Can that sensation be brought in sight? For example, many dimensions like conflicts in story, shocks, angers, sorrows etc can be found while converting the novel “Char Oddhay” into a play. But where are they in “Shesher Kobita”? There is no manifestation of ultimate conflicts, huff arrogances, Labonyo is accepting everything. Amit doesn’t react heavily too. Mashima is also a sympathizer. Tries to understand, instead of judging. There was a symptom of a big conflict when Ketoki arrives in the scenario, but she also accepts the facts and goes back with shedding tears after returning the ring to Amit. Even Shovonlal accepts the insults and leaves with a down head. What a distress, why do they accept so much? Drama requires an ultimate status of conflict. But it is a sweet sore novel of love-sorrow-separation. Where the director or the performers can show their charisma? Yet, the characters of this novel posses a strong high position in the reader’s mind. They won’t move an inch from there. Try to understand! How helpless the director is!
You might have understood already that I’m trying to make an excuse. I can’t help but making it because when I judge myself as the director of this play from the point of view of a reader of the novel “Shesher Kobita”, it can’t even satisfy my reader’s mind. There starts the depression… I have directed two Rabindra drama “Raktakorobi” and “Swadeshi” which is converted from “Char Oddhay”; before directing “Shesher Kobita”. But I didn’t feel this sort of depression back then.
I didn’t want to confine the play in any sort of time frame. Again, I tried to keep the flavor of Rabindra-times. There were two sets of reader-audience in my mind, the reader-audience of the tomorrows and the reader-audience of today. I am grateful to Fayej Jahir for developing the sets and Ivan Shahriar for helping in choreographies. Another person that I am grateful to is Tunu Ahommed. He is my closest friend. When I was confused about costume design, he helped me by boosting up my confidence. I tried to represent this pleasant novel in a pleasant manner. I will look into the eyes of the audiences and will try to understand how much pleasant it was and if there was some sweet sore feelings created in the minds of the audience.
On Stage:
Amit : Ananta Hira, Ramiz Razu,
Labannya : Nuna Afroz, Suvechchha Rahman
Jogomaya : Chaitali Halder Chaiti
Ketoki : Nuna Afroz
Sisi : Chaital Halder Chaiti
Lily : Sunjida Asha
Shovan Lal : Ramiz Razu
Nani Gopal : Awal Reza
Abonish Dutta : Sarwar Saikat
Joti Shangkar : Mainul Tawhid
Shuroma : Prokriti
Literary Meetings : Zahid, Saikat, Tawhid, Regan, Monir, Simanto, Biplob
Narrator : Ananta Hira, Ramiz Razu, Saikat, Tawhid, Zahid, Regan, Biplob
Choreography : Saikat, Regan, Simanto, Monir, Biplob, Sujay, Suvechchha, Asha,
Chaiti, Prokriti, Badhon, Preeti
Behind The Stage:
Script : Ananta Hira
Direction : Nuna Afroz
Set Designer : Faiz Zahir
Light Designer : Towfique Azeem Rabin
Music Director : Ramiz Razu
Costume Designer : Nuna Afroz
Choreography : Ivan Shahriar Shohag
Music Operator : Litu Roy, Bullet Jewel
Song Selection : Ananta Hira
Singer : Shiplu, Shunandha, shorborI, Chaitali Somaddar, Ramiz Razu
Light Casting : Towfique Azeem Rabin, Ahmed Sujan
Applied Music : Litu Ray, Bullet Jewel
Photography : Imtiaj Ahmed Dulu and Taposh
Make-Up : Jony Sen
Publicity and
Publication : Sarwar Saikat
Satage Manager : Tohid Biplob