Finding the Muse: Kadambari and Tagore's Untold Story... 'Kadambari' - A play by Meghna Roy Choudhury

MY ENCOUNTER WITH KADAMBARI DEVI:

During the vibrant Durga Puja celebrations in Kolkata, when streets brim with terracotta jewellery, culinary delights, and literary treasures, I stumbled upon a novella titled Kadambari Devi’s Suicide Note. The 110-page fictional bestseller, with its small, apologetic disclaimer on the back cover, marked my first encounter with Kadambari Devi. Until then, she had been no more than a name—abstract, enigmatic—much like the layered women immortalized by Rabindranath Tagore and Satyajit Ray.

Tagore’s Nashtanir and Ray’s Charulata had shaped my imagination. Through them, I had seen Kadambari as a muse, an artist, and a woman yearning for expression. But this novella painted a different picture—a woman consumed by unrequited love, her voice reduced to 110 pages of melancholia.

“How can someone write a hundred pages after overdosing on opium?” I wondered. And yet, her life ended at 25, just months after Tagore’s marriage. Is that all she is remembered for? An untimely death, reduced to whispers of an illicit affair?

Through fragmented writings, I began piecing together the life of Kadambari Devi—the child bride renamed to fit into the progressive Tagore household. She was Rabindranath’s friend, his muse, his confidant. And in her, I see a story waiting to be told—not as a tragedy, but as an ode to her spirit and her silenced voice.

My dramaturg, Abhishek Majumdar, once asked, Are you angry at the writer or the reader? That question fueled this journey.

This is what Kadambari Devi looked like:

OTHER PROJECTS TOOK OVER:

After graduating from drama school, I focused on finding my voice as a storyteller. Touring with The Tragedy of Abhimanyu, a Therukoothu production by Kalaimamani P.K. Sambandam, I explored blending Bharatanatyam with contemporary theatre. This pursuit culminated in my directorial debut, The Apology.

The Apology was the imagined apology of a disciple to herself, reclaiming her body and spirit after years of subjugation. It wove Indian classical vocabulary into theatre, challenging patriarchal norms while celebrating liberation. This production was honored with the Niloufer Sagar Alumni Production Grant in 2023, affirming my efforts to innovate and experiment.

NOW IS THE TIME:

I wrote the first draft of Kadambari at 24. Now, at 28, I’m ready to bring it to life with a strong, collaborative team. Kadambari died at 25—here I stand, determined to reclaim her voice and tell her story.

This project marks a pivotal moment in my journey. It’s a response to the writings and cultural influences that shaped me, blending my artistic roots with a reimagined theatrical vocabulary.

THE TEAM:

I am deeply honoured and grateful for the incredible team I have the privilege to work with. For me, the most exciting aspect of theatre is collaboration, and I’m thrilled to be working alongside such a talented and experienced group of individuals. Their expertise inspires me, and I look forward to learning and growing in this art form through our shared journey.

Ipshita Chakraborty Singh: KADAMBARI/CHARULATA

A National School of Drama alumna and Ustad Bismillah Khan Yuva Puraskar recipient, Ipshita has acted in over 35 plays and films like Bhonsle, Chhapaak, and Sacred Games

Aayush Thakur: RABI

An actor trained in realistic and psycho-physical theatre, Aayush brings depth and versatility from his work in Delhi's theatre circuit and training in Seraikela Chhau.

Sayan Sarkar: Amal

A National School of Drama graduate with a rich background in theatre and screen acting, Sayan’s works include Shobdo Jobdo and Shyam Benegal’s Mujib.

Aditi Arora: MRITYU

An NSD graduate and Daastangoi practitioner, Aditi has showcased her talent in classical plays like Abhigyana Shakuntalam and contemporary works for The Company Theatre.

Hrishabh Kanti: BHUPATI

Hrishabh Kanti has performed in notable plays such as Transfer Kid, Tughlaq (Prithvi Theatre Festival '19), Anandowari, Greatest Show on Earth (Prithvi Festival '22), and Tumhaare Baare Mein. He has also collaborated with renowned theatre practitioners like Sunil Shanbag, Quasar Thakore Padamsee, and Neeraj Kabi. A Thespo Fellow and Drama School Mumbai graduate, he continues to make his mark in theatre.

DRAMATURG/ MENTOR - Abhishek Majumdar

Abhishek Majumdar is an award-winning writer, director, and scenographer who creates work in English, Hindi, and Bangla. He is the Artistic Director of Nalanda Arts Studio, Bangalore, and Creative Producer of the New Voices Arts Project, which supports young Indian theatre-makers. A former Artistic Director of Indian Ensemble, Abhishek is also an Associate Professor and Program Head of Theatre at NYU Abu Dhabi.

Renowned for his socially and politically conscious plays, his works include The Djinns of Eidgah, Muktidham, and Pah-la, performed internationally and published by Bloomsbury. Abhishek's accolades include the Hindu Metroplus Playwright’s Award, Mahindra Excellence in Theatre Awards, and international recognitions like the Segal Center Award for Civic Engagement. A published author and scholar, he explores themes like nationalism, conflict, and ecology, shaping contemporary theatre globally.

SCENOGRAPHER/ MENTOR - Mohit Takalkar

Mohit Takalkar is an Indian theatre director, he co-founded the theatre company Aasakta Kalamanch in 2003 and has directed over 30 experimental plays in multiple languages, including Marathi, Hindi, Urdu, Kannada, Marwari, and English. His notable film projects include "The Bright Day" and "Medium Spicy." Takalkar is also a restaurateur, running Barometer in Pune. He holds a master's degree in Theatre Practice from the University of Exeter, UK, and is known for his minimalist staging and strong visual language in theatre. He has received several accolades, including the Maharashtra State Award for Best Play and Best Director for "Yayati," "Nanephek," and "Tu." His work often reflects technical excellence and a commitment to exploring complex narratives.

MUSIC COMPOSER - Gandhaar Sangoram

Gandhaar, passionate about music since childhood, has been a composer for over 13 years, contributing to feature films like Postcard, Avatarachi Goshta, Ringan, and Baapjanma, as well as albums, plays, over 25 short films, and 150+ jingles. He debuted with Postcard, collaborating with legends like Hariharan and Kavita Krishnamurti, and later worked with Shaan on his second film. His 2009 album Aashayien, with Saavani Ravindra, was mixed at YRF Studios.

He has scored music for Lillete Dubey’s productions Adhe Adhure and August: Osage County and composed for Geli 21 Varsha, selected for international festivals in Italy. With over 50 plays to his credit in Marathi, Hindi, and English, his diverse repertoire spans genres from Indian classical to hip-hop. His song Maharashtra Desha for BhaDiPa has 3M+ views and resonates globally with the Marathi-speaking community.

A Filmfare, MICTA, and Zee Gaurav nominee, he won Best Singer at the Chitrapadarpan Awards. Gandhaar, founder and director of Be Birbal Digital Media Pvt Ltd, has managed the publicity for 50+ Marathi films and was featured in Pune’s 30 Under 30 by Hindustan Times. He continues composing for independent projects and theatre, including Quasar Padamsee’s Mother Courage for Aadyam.

WHY BANGLA?

This play will primarily be in Bangla, with subtitles seamlessly integrated into its scenography. Inspired by Tagore’s scribbled manuscripts, the subtitles will become part of the visual design—an homage to his creative process and my effort to piece together Kadambari’s story.

BUDGET:

PRE-PRODUCTION (Cast & Crew fees)₹85,000.00

PRODUCTION (Technical executions, Set and Costumes)₹2,10,000.00

OPENING SHOWS (Venue rent and running costs for 4 shows)₹4,66,000.00

TOTAL WITH CONTINGENCY ₹5,00,000.00

ABOUT ME:

Meghna Roy Choudhury is a Bharatanatyam practitioner with 23 years of rigorous training, a master's degree in Physics, and a graduate of the Drama School Mumbai. Additionally, she is trained in Kalaripayattu and was selected as a Therukoothu actor for the Tamizh folk theatre production The Tragedy of Abhimanyu, directed by the esteemed Kalaimamani P. K. Sambandan. Meghna has performed in plays across five languages—English, Hindi, Bangla, Marathi, and Tamizh—showcasing her versatility and love for diverse cultures.

Currently, she works as a director, actor, and playwright in Mumbai, actively contributing to commercial theatre while also collaborating with schools and NGOs through Theatre in Education initiatives.

Meghna is passionate about exploring innovative storytelling techniques and reinventing theatrical aesthetics. Her work aims to discover a unique theatrical language that resonates with her cultural and artistic roots. In her directorial debut, The Apology, she seamlessly blends the vocabulary of Indian classical art forms with theatre, creating a harmonious balance between tradition and innovation.

Her dedication has been recognized with prestigious accolades, including the Niloufer Sagar Alumni Production Grant (twice), the Parivartan Annual Grant (2024-25), and the INLAKS Theatre Award (2025).

Kadambari is Meghna's endeavor to rediscover her legacy, reclaim her narrative, and craft a story that resonates deeply and personally.

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