VMPL
Mumbai (Maharashtra) [India], September 1: Mumbai witnessed history on the evening of 29th August 2026, as Shahana (Tagore Centre for Indian Music and Culture) brought its Golden Jubilee celebrations to a glorious close at the Veer Savarkar Auditorium, Dadar. With a housefull auditorium and hearts full of expectation, the audience was treated to a double bill — Rajendranandini The Warrior Princess and Alokdhara — that was nothing short of magical.
It was more than a performance; it was a celebration of 51 years of dedication to Rabindranath Tagore’s philosophy.
The first presentation, Rajendranandini, a visionary adaptation of Tagore’s timeless classic Chitrangada, was a triumph. Directed and choreographed by Anusree Bonnerjee, Honorary Creative Head of Shahana, the production showcased her exceptional artistic vision. Bonnerjee’s interpretation was both faithful and fresh. She wove verses from Tagore’s original poem into the dance drama, and with skillful editing by Upamanyu Bhattacharya and evocative English narration, she made the narrative transcend language barriers.
Her commendable choreography deserves special applause. The way she blended Manipuri, Bharatanatyam, and Rabindrik movements into a seamless visual language, the intricate group formations, the powerful use of space, and the emotional crescendos were masterful. This was not just choreography; it was storytelling in its purest form. Anusree Bonnerjee has once again proved why she is one of the most innovative interpreters of Tagore’s works today.
The ensemble cast was brilliant. Every dancer performed with complete surrender and synchronicity. The costumes, lighting, and stage aesthetics added grandeur to the performance.
At the heart of Rajendranandini were three powerful lead performances. Esteemed Manipuri exponent Purbita Mukherjee was grace personified, bringing ethereal strength and quiet dignity to her role.
And then, there was Anilkumar Singh as Arjun — the soul of the evening.
For Mumbai-based Bharatanatyam and Rabindrik Nritya exponent Anilkumar Singh, this was a long-cherished dream come true, and he lived it with every breath. Singh brought a magnificent blend of strength, vulnerability, and regal charm to the mythological hero. His portrayal was deeply layered — a warrior’s vigor in his powerful footwork, a prince’s tenderness in his abhinaya, and a seeker’s humility in his eyes. His stage presence was commanding, his expressions were nuanced, and his chemistry with the other leads was profoundly moving. It was evident that years of portraying Tagore’s heroes in Valmiki Pratibha, Mayarkhela, and Bhanusingher Padavali had led him to this defining moment. The audience gave him a thunderous applause that was truly well-deserved.
The second half, _Alokdhara_, was a soulful and fitting tribute to Shahana’s founders — Indrani Acharya, Sunanda Majumdar, and Snigdha Basu. Themed on the divine feminine energies of Creation, Preservation, and Regeneration, it was divine.
The young vocalists Shramana Chattopadhyay, Megh, and Palashi Ghosh, under the masterful musical direction of Arup Chowdhury , were exceptional. Their rendition of Rabindra Sangeet was heartfelt and soul-stirring. The accompanying musicians were the backbone of the evening — sensitive, precise, and in perfect harmony with the dancers. Upamanyu Bhattacharya’s poetic interludes added a beautiful lyrical touch.
In all, it was a collective victory. Every dancer, musician, singer, technician, and volunteer deserves a standing ovation. Shahana has not just closed its Golden Jubilee year; it has set a new benchmark for Tagore dance-drama in India.
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