Even Ram and Raavan will be amused – Beyond Bollywood

Actor-director Om Katare and writer Dr Kusum Kumar’s light-hearted take on Ram-Leela is hilarious but never offensive.

Rating: ⭐️⭐️⭐️⭐️ ( 4 / 5)

By Mayur Lookhar

In a time when humour and mythology rarely go hand in hand, veteran theatre artist Om Katare and writer Dr Kusum Kumar bring us Raavanleela—a laugh-out-loud play by Yatri, the theatre group run by Katare himself. The play has been successfully running for 8 years.

The moment it begins, it brings to mind the iconic Mahabharat play sequence from Jaane Bhi Do Yaaro (1983). But Raavanleela is very much its own beast—a gripping, thoroughly enjoyable two-hour comedy that keeps you rolling with laughter.

Let’s get one thing straight—while the play is packed with humour, it’s not a spoof. It’s a play within a play, offering a warm, light-hearted look at the lives of small-town Ram-Leela performers from Jigarpur.

With limited resources and an in-your-face audience, writer-director Jagannath (played brilliantly by Ashok Sharma) has his hands full staging the Ram-Leela. Things spiral further when Kartar, a disgruntled Punjabi actor (Katare) playing Raavan, starts venting his frustration about poor pay on stage. Add to that a group of artists who can barely stand each other, and chaos naturally follows.

The script cleverly centres around Raavan, leaving Ram mostly on the sidelines—probably a wise move to avoid hurting religious sentiments. Sahil Ravi plays Sita, continuing the old tradition of casting men in female roles, back from a time when women weren’t encouraged on stage.

Equally brilliant is Harshal Singh, who plays Shurpanakha with sharp comic timing and expressive flair. He brings a quirky energy to the stage, making every act he’s in pop with laughter and life.

While Kartar fumes over his pay, Sita and other key characters from Lanka keep slipping out of character—and that’s exactly where the comedy lands. Behind the laughs, Raavanleela offers a glimpse into the struggles and disillusionment faced by small-town theatre troupes across India.

Though it feels like a story from the past, the play cleverly weaves in modern references—publicity-hungry politicians like Imarti Devi, GST woes, low wages, and even tributes to Sholay and DDLJ.

Another lovely touch is how the audience becomes part of the action—literally. Led by the fierce and gorgeous Purnima Arora, they storm the stage mid-show to call out the actors’ mistakes, forcing them to snap back into their roles. It’s hilarious, and makes you wish Bollywood had such bold spectators.

Watching it up close is a treat, though those in the back rows might have missed some of the magic of the audience within the play.

What makes Raavanleela shine is its sharp writing, playful language, comical combat scenes, and a cast that truly owns the stage. Katare is the heart of it all—his Kartar, with his Hindi lines peppered with ‘itthey,’ ‘kitthey,’ and ‘uthhey, is a riot. His line flubs, sudden outbursts, and constant inner struggle to suppress his Punjabi instincts are comedy gold.

The laughs aren’t just from the actors or the audience chaos—there’s even humour in the tiny musical troupe’s antics.

But the real charm of Raavanleela lies in its masterful comedy of errors—actors slipping out of character, a chaotic backstage, and an audience that keeps interrupting the show. The confusion is constant, the timing impeccable, and the result is pure, unoffensive fun. It’s the kind of riot where even Raavan and Ram could sit together and laugh.

After Prithvi Theatre, the play moves to NCPA. Catch it if you can—it’s an absolute delight.