For the first time, a Bengalee theatre group from abroad has staged their play in Bangladesh.
The Canadian troupe, Toronto Theatre Folks, performed their new stage play "Ek Jora Juta" on February 22 and 23 at the Bangladesh Shilpakala Academy.
Throughout the play, the actors remain in anticipation, searching for a lost pair of shoes.
Through various incidents, the characters also portray the different shades of pain associated with losing loved ones. In the final scene, Imrul discovers the long-lost pair of shoes—a symbol of self-reliance, courage, and love.
At the final performance in Bangladesh, several theatre enthusiasts and prominent figures in the theatre community were present in the audience.
After the play, playwright and novelist Masum Reza praised the production, saying: "This bold initiative by Toronto Theatre Folks will inspire Bengalee theatre on an international platform and encourage expatriate theatre artists. Through a surrealist and absurdist approach to searching for a lost pair of shoes, they have artistically pursued truth and beauty. My thanks to the entire team."
Speaking on Toronto Theatre Folks’ contribution to Bengali theatre abroad, he added: "Their work sets an example that will further invigorate Bengalee theatre practices among theatre artists outside Bangladesh."
The play, written by Mehrab Rahman and directed by Imam-ul Haque, was first staged in Toronto, Canada.
Director Imam-ul Haque said: "The play won the hearts of audiences in Toronto and played a significant role in creating a new audience for Bengali theatre abroad. The actors, in their search for the missing pair of shoes, rediscovered their lost self-confidence and felt the deep pain stored in their hearts."
On the Dhaka stage, the play acquired a new dimension through a collaborative presentation with Prachyanat.
The director said: "Coordinating with Prachyanat’s artists in a short time and staging the play in Dhaka was a new and exciting experience for us. This has sparked our interest in working on more international Bengali theatre projects in the future."
Imam-ul Haque (Kislu) was widely recognized in the 1980s for his outstanding performance in the lead role of the popular comedy play "Kanjus."
The entire coordination and management of "Ek Jora Juta" in Dhaka were overseen by Prachyanat’s prominent actor, Shatabdi Wadud.
Actor Nayla Azad Nupur praised the collaboration, saying: "The coordination between the expatriate artists of Toronto Theatre Folks and the young artists of Prachyanat, as well as the use of the stage, were impressive. Although the use of metaphor in storytelling was sometimes excessive, the core message of the play was clear to the audience by the end."
She welcomed this theatrical exchange and joint effort.
Director Azad Abul Kalam said: "This kind of collaboration is a new experience for both teams. In the future, Prachyanat will stand by Toronto Theatre Folks in their theatrical experiments. We must encourage this culture of exchange for the growth of quality theatre productions."
Azad Abul Kalam was in charge of the overall supervision of this collaboration.
The two performances in Bangladesh featured Canadian artists Aruna Haidar, Noyon Hafiz, Mehrab Rahman, and Imam-ul Haque, alongside Prachyanat’s Sabrina Rahman, Adri Ja Amin, Sarah Zebin Aditi, Fahmida Akhtar Akhi, Swati Bhadra, Diana Marolin Chowdhury, and Ariful Rubel.
Under the choreography planning of Snata Shahrin, the emotions and expressions of the characters were aesthetically conveyed.
Mehrab Rahman, Aruna Haidar, Imam-ul Haque, and Noyon Hafiz delivered strong performances, reflecting their dedication and effort.
Throughout the play, the audience was visibly moved, especially witnessing Imrul’s deep yearning for his elder brother (Dada).
Expatriates often continue cultural practices and experiment with Bengalee theatre despite facing various challenges abroad.
At the Shilpakala Academy’s seminar room on February 20, a discussion titled “Bengali Theatre Practice in Canada” explored the history, challenges, and possibilities of Bengali theatre in Canada.
During the seminar, organized by Toronto Theatre Folks and Prachyanat, speakers emphasized that cultural exchange between countries enables effective experimentation, which strengthens Bengali theatre practice.
They urged for regular collaborations between Bangladeshi and expatriate Bengali theatre artists and called for collective efforts to inspire the younger generation in Bengali theatre practice.
A detailed discussion on Parvez Chowdhury’s paper was conducted by Director Azad Abul Kalam, Actor Mehrab Rahman, Actor-Director Imam-ul Haque, and Actor Nayla Azad Nupur.
The audience in Dhaka warmly welcomed this joint initiative of staging and discussing theatre between the two countries.
