Alok Bashu, the playwright, has tried to represent the great sage Aatish Dipankar in a new way. He thinks that we badly need Aatish to stop war in the present chaotic world. That is why, he has ignored the time barrier and has presented legendary Aatish in the backdrop of current political condition of the world.

Alok has used so many rhymes from the Charjaapada and from Magodhi language, which is the origin of Bangla. His handling of the verses from the Tripitaka and the present political conspiracies simultaneously has given the play a unique tone. Again and again, he has reminded us of the genocide that the US President Bush is doing in Iraq through a successful application of the alienation technique. Alok has criticised the role of Kofi Annan, the UN Secretary General, during the war. Thus Alok Bashu's play is a sharp weapon against the imperialistic aggression.

However, to introduce so many things in the play, he has failed to pay concentration on every sequence. That is why he has not properly been able to create the scene where Aatish acts to stop the war.

Alok Bashu has used the narrative technique in his direction. He has successfully used theatrical games for composition. His performers could create the dramatic atmosphere in an empty stage through their artistic body movement.

Kamaluddin Kabir has followed Peter Brook's concept, 'What is better than an empty space?' in his set design. He has simply used few stools and two statues of Buddha in the set. Kabir has equally succeeded as a light designer. His symbolic light effects have helped the director to create the atmospheres.

Litu Sakhawat as a music composer has used Assamia tunes, which is logical for the theme of the play.

All the performers have played really well. Litu Sakhawat's voice modulation and unique body movements are enjoyable.

BGTF's initiative to give this type of courtesy is encouraging for the rising stars of the country whereas the young artistes do not get enough scope to prove their talents in the big groups.