Portrayal of different characters of these alluvial lands is ultimately synthesised in the life of protagonist Anar Bhandari. An ex-porter on ships, having spent years at sea and numerous foreign ports and cities, Bhandari portrays all the emotions and life experiences seen individually in the other characters.

He not only can attune himself with Modhu's reminiscences of his life at sea as one of his companions, his emotions and experiences can also coalesce with those of others living on the island. Extremely frightened of death, he makes confessions to religious priests several times only to return to his normal rhythm of life that involves music, dance, playing cards as well as fishing for daily living. He forsakes his confessions and resolution to live piously also because he discovers the priests to be more hypocritical than the ordinary people.

And this ordinary way of life makes Chhukkuni, another character, travel from place to place because she does not find the peace she seeks. It makes Modhu abandon the life of the island and go on voyages again in spite of his passionate love for Hasna. And it makes the tortoise hunter marry a widow, violating all religious restrictions.

Enacting the roles, Raisul Islam Asad (Anar Bhandari), Shahiduzzaman Selim (Modhu) and Shubhashish Bhowmik (the tortoise hunter) were appreciable. Except in the phase after her return, Shimul Yusuff did not suit well the role of Chhukkuni; it's time the noted Mancha Kushum went for roles that match her age.

Shubhashish Bhowmik's mime of hunting a tortoise is perhaps the most brilliant part of the play. The blue light projecting from the wings creates an artistic ambience of the water. With Rafique Mahmud's light design, Bhowmik's choreography gives an aesthetic quality to the skilful act of hunting tortoise.

The set symbolises the gradual development of the life of Anar Bhandari. Designer Afzal Hossain's use of very few props to indicate the atmosphere and lifestyle of these people is noteworthy. However, the red colour of the set does not represent the soil of these alluvial islands. The designer could give it a second thought.

'The ongoing Drama Festival is the symbol of BGTF's success' --Sara Zaker
Ershad Kamol
Sara Zaker, the ex-President of Bangladesh Group Theatre Federation (BGTF) and the honorary member of the current committee of the organisation, appreciates the accomplishments of the BGTF. She is optimistic about the future of theatre in Bangladesh. To quote her,'From the beginning we have tried to strengthen BGTF as a powerful cultural organisation. However, we did not get the much needed support from governmental institutions. As a result we became a little bit pessimistic. But we never lost hope. We are continuously struggling to reach our goal. Drama Festival- 2004 is the symbol of BGTF's success.'

'As the ex president of the organisation, I think, BGTF should maintain its uniqueness. They should remain neutral and not allow any organisation or person to influence their decisions,' Sara added.

Sara thinks the festival will have a positive effect on the viewers.

Schedules (June 27-July 02)
June27
Play: Karnakatha
Playwright: Tanvir Ahmed
Director: Mohammed Jasimuddin
Group: Abayab Natyadal

June 28
Play: Tahader Kotha
Playwright: Rezanur Rahman
Director: Farhad Zaman Palash
Group: Dhaka Sarak

June 29
Play: Good Bye Dhaka
Playwright & Director: Nazrul Islam Khan
Group: Bahubachan

Venue: Experimental Theatre Stage at Shilpakala Academy; Time: 7 pm
Tickets are available at Sagar Publishers, Baily Road and at the venue before shows.
Prices: Tk. 30, Tk. 50 and Tk. 100.
Schedules, provided by BGTF, are subject to change without any prior notice.