TINTE – SHAREH-CHHATA HOUSE FULL : Debashis Roy : an invaluable addition to the history of the Bengali stage (pub. Aajkaal Publishers Pvt Ltd, June 2026)

 

Debashis Roy of New Town Bratyajon has written a very resourceful book entitled Teen’te - Sare Chha’ta Housefull on the commercial theatre of Calcutta that had once reigned the Bangla theatre world. The book is sort of an anthology of the most productive period of the Hatibagan stage which spanned from the 50’s to the 80’s of the last century, catering the theatre buffs with varied fares of productions, that had diverse range of contents and performances. What has made the book invaluable is that Roy has very scrupulously given a social or a political backdrop behind some of the eminent productions of that time. Together with this information the readers get to know behind-the-scene stories, or the circumstances and situations that prevailed in their stagings, and also for that matter the sudden cessation of some of the popular productions. Then there are discussions on the magical lights and the settings created by the wizards of the stage. the like of which can no more be seen by the spectators of today. The author has authenticated the facts by quoting those who had actually done those magical deeds. He has also included excerpts from writings of different eminent personalities connected to the Shyambazar stage in those years as well as from various articles published in journals and newspapers of that era.

For septuagenarians like me the reading of the book is like rolling back in time to those magical days when every family diligently performed the ritual of going to the theatres as an essential part of any family function like weddings, and anniversaries; not to speak of the festive seasons. Star Theatre, Biswaroopa, Rangmahal were the main three destinations where plays with wholesome storylines would be enacted by celebrity actors of whom many were silver-screen idols. Minerva Theatre was another important haunt but it had never been a favourite one for those seeking family entertainment though it was a permanent LTG site till the late 60’s. Then there were Kashi Biswanath Mancha, Rangana, Bijon Theatre, Circarina, Pratap Memorial Hall, Tapan Theatre, Sujata Sadan, etc. But these halls catered plays that did not have that universal appeal as the ones that were featured in the three iconic commercial theatres. People would just purchase the tickets in these halls without knowing even the name of the play that was being staged. But on the other hand, people would go to the other halls to see a production that is being talked about. That was the magic of the Hatibagan theatre.

It is thus quite befitting a title for Roy’s book. Another interesting feature of the book are the pictures of the actors who had ruled the Kolkata commercial theatre stage. Photographs of the advertisements that were printed in the newspapers and a few cinema journals of those years, with their different compositions and styles of letter settings of the titles of the plays, bring back memories of a time when publicity had its own language.

And all this has made the book an authentic and invaluable addition to the history of the Bengali stage.