Event Collections

The mind seeks familiarity over newness, and family becomes our first place of comfort and safety. But what if this familiarity is shaped by pain?

What if the same patterns repeat in every relationship, mistaken for security?

Science says genes and cells never truly die, they live on through generations.

But what if, beyond biology, it is the social structure that shapes us?

This is a story of generations, of long-suppressed truths, of wounds conceived as love.

Come, let’s bid a farewell to all the dramas and traumas inherited, carried forward, and lived through generations.

Refuge is the personal musical project of Bangalore-based pianist Aman Mahajan, paying homage to inner journeys, and exploring an ever-evolving sense of home. Founded in 2013, the project serves as Mahajan’s musical compass and creative laboratory.

Moving fluidly through composition and improvisation, Refuge is inspired by personal experiences, themes from Buddhist philosophy, and deep musical explorations through jazz, Indian music, folk, and rhythms from around the world.

At Jagriti Theatre, the music will be performed as a piano-drum duo by Aman Mahajan and Rohit PS. Through pieces like The Ten Thousand Questions, Beginningless, Leifmotif, Berceuse and Sitaphalmandi, the audience is invited into a world of inner reflection.

Play Synopsis

Park written by Manav Kaul is a comedic and insightful exploration of human behaviour and social dynamics, focusing on themes of territory, space, and ownership. Set in a public park, the story revolves around three men competing for space on three park benches. What begins as playful banter soon deepens into a poignant reflection on broader aspects of life, from relationships and personal boundaries to workplace politics. Through its humour and relatability, Park resonates with audiences from all walks of life.

Play Synopsis

Park written by Manav Kaul is a comedic and insightful exploration of human behaviour and social dynamics, focusing on themes of territory, space, and ownership. Set in a public park, the story revolves around three men competing for space on three park benches. What begins as playful banter soon deepens into a poignant reflection on broader aspects of life, from relationships and personal boundaries to workplace politics. Through its humour and relatability, Park resonates with audiences from all walks of life.

Confessions from a Mental Asylum follows the raw, unsettling, and darkly humorous journey of Maverick, a man whose only crime is refusing to live a life shaped by monotony and social conditioning. An absurdist soul with an instinctive intolerance for pretense, Maverick navigates the world with a brutal, unfiltered honesty that society cannot or will not  tolerate. His refusal to conform becomes the very reason he is branded “unstable” and confined to a mental asylum (There are other reasons too that will be revealed in the play).

Inside the asylum’s walls, Maverick encounters a world that is ironically far more absurd than he is. Through fragmented memories, surreal conversations, and sharply honest monologues, he unravels the thin line between sanity and insanity. The institution meant“fix” him becomes a mirror reflecting society’s fear of truth, individuality, and unpredictability.

The play blends absurdism, introspection, and dark wit, immersing the audience in Maverick’s confessions, sometimes chaotic, sometimes painfully clear. Confessions from a Mental Asylum challenges the audience to question the conventional sought of expression in communication to society and ourselves, should they be re-evaluated or their existence is a Burden.

In classic girl-meets-girl fashion, Rekha and Bindu collide over a lost-and-found earring in the corridors of Sophia College for Women. They are young, hopeful and always late to catch the local train. They waltz around Bombay to the sound of Rekha’s jangling ears, and their affection slowly blossoms over chai-sutta, stolen nights at the disco, and each other’s company.

But it’s 1974, and Bindu and Rekha must navigate a Bombay dogged with rising prices and unrest in their quest to set up their first proper ‘date!’

In classic girl-meets-girl fashion, Rekha and Bindu collide over a lost-and-found earring in the corridors of Sophia College for Women. They are young, hopeful and always late to catch the local train. They waltz around Bombay to the sound of Rekha’s jangling ears, and their affection slowly blossoms over chai-sutta, stolen nights at the disco, and each other’s company.

But it’s 1974, and Bindu and Rekha must navigate a Bombay dogged with rising prices and unrest in their quest to set up their first proper ‘date!’

The play has nothing to do with God or dancing. The world, in its nature, has plenty of ungodly things happening all the time. In fact, if Lewis Carroll had written Alice in Wonderland today, it would have read, “Seven ungodly things before breakfast.” This story is a mischievous comedy about one of them. It is the first post-contemporary play in India, built in tandem with gurus across Thiruvananthapuram & Thrissur, featuring world-class performers like Priya Nambudiri & Karthik Manikandan, led by local actors like Mayura Baweja, Kripa Anne & Sambit Debnath, with industrial art from designers like Rahul K.P. & Abeer Lala, as well as dozens of other artists, including Norman Leslie Doss, Aditi Pandit & Tia Nagaraj.

The play has nothing to do with God or dancing. The world, in its nature, has plenty of ungodly things happening all the time. In fact, if Lewis Carroll had written Alice in Wonderland today, it would have read, “Seven ungodly things before breakfast.” This story is a mischievous comedy about one of them. It is the first post-contemporary play in India, built in tandem with gurus across Thiruvananthapuram & Thrissur, featuring world-class performers like Priya Nambudiri & Karthik Manikandan, led by local actors like Mayura Baweja, Kripa Anne & Sambit Debnath, with industrial art from designers like Rahul K.P. & Abeer Lala, as well as dozens of other artists, including Norman Leslie Doss, Aditi Pandit & Tia Nagaraj.

The play has nothing to do with God or dancing. The world, in its nature, has plenty of ungodly things happening all the time. In fact, if Lewis Carroll had written Alice in Wonderland today, it would have read, “Seven ungodly things before breakfast.” This story is a mischievous comedy about one of them. It is the first post-contemporary play in India, built in tandem with gurus across Thiruvananthapuram & Thrissur, featuring world-class performers like Priya Nambudiri & Karthik Manikandan, led by local actors like Mayura Baweja, Kripa Anne & Sambit Debnath, with industrial art from designers like Rahul K.P. & Abeer Lala, as well as dozens of other artists, including Norman Leslie Doss, Aditi Pandit & Tia Nagaraj.