Chandni Raatein (Review) - Theatre

Chandni Raatein (Adapted and Directed by Purva Naresh)

My Rating: 4 Stars

The generation in India that once read Russian writers like Fyodor Dostoevsky (or Chekhov, Gogol, Tolstoy, Gorky, and Pushkin, for that matter) has passed. The romance of Tsarist times is long forgotten, and the short story as a literary form is fading. In this landscape, adapting a Russian classic for the Indian stage is an unusual and ambitious choice.

It takes courage for a young director like Purva Naresh to bring White Nights, a short story by Dostoevsky, to life as a large-scale theatrical production—especially for an Indian audience. Yet, she has done so with remarkable finesse, earning a standing ovation. This speaks not only to her creativity and theatrical craft but also to her deep understanding of Indian audiences. What likely drew her to this project is the timeless nature of love—proof that matters of the heart transcend geography and culture.

The Original Storyline

On the luminous summer nights of St. Petersburg, a lonely dreamer meets Nastenka on a quiet bridge. As they share their hopes and sorrows beneath the city’s glowing sky, a deep bond forms. He longs for love, while she waits for someone from her past. Over four nights, their connection deepens with laughter, confessions, and unspoken emotions. But as dawn approaches, the bridge that brought them together may also be where their paths diverge.

From White Nights to Chandni Raatein

In Purva’s hands, however, Chandni Raatein is to White Nights what a Margarita is to Tequila. The essence remains—Dostoevsky’s blend of melancholy and hope —but it is blended with additional characters, personas, and garnished with music and dance. The result is a sprightly cocktail that leaves you refreshed yet slightly intoxicated with emotion.

Performance and Production

Most of the cast delivers above-average performances, but Mantra Mugdh (as Deewaana) and Kaustav Sinha stand out. The set design and production are commendable, with the 19th-century bridge serving as the central motif, beautifully capturing the twilight of the Russian summer. One particularly striking detail is the human statue painted in silver, standing in a corner of the stage—an almost living prop that adds depth to the mise-en-scène.

Lighting, singing, and music are all well-executed, but what truly sets this production apart is its direction. The fluidity of movement, effective space utilization, and seamless transitions between parallel settings keep the audience engaged throughout. A particularly whimsical touch is the introduction of human personas who enact the inner emotions of the characters. Not only does this add humor, but it also serves as a bridge between the audience and the unfolding drama.

Striking the Balance in Adaptation

Adapting a work like White Nights is no easy feat. It requires a delicate balance between staying true to the original and making it relatable to contemporary audiences. Purva attempts to achieve this by blending Indo-Russian cultural elements into the play. While this works in many places, at times, it feels slightly force-fitted. Given that this was not a full-fledged musical, the production could have done with one or two fewer songs without losing its impact.

Aadyam

A word must be said about Aadyam. The development of art and culture has always required patronage. In earlier times, kings and rulers supported great artists, writers, and poets. Today, Aadyam, an initiative of the Aditya Birla Group, is playing a similar role in Indian theatre. By funding high-quality productions and keeping ticket prices manageable, it allows directors to focus on their art rather than commercial constraints.

Take a bow, Purva. Well done, Aadyam. Without your combined efforts, an adaptation of White Nights would likely have been confined to an Experimental Theatre @NCPA, Mumbai, playing to a small group of intellectuals—instead of filling a 600+ packed house at Kamani.