In the vibrant world of Indian theatre, a new troupe has emerged with an ambition as bold as it is refreshing. The Ensemble, founded by filmmaker Aneek Chaudhuri, has its sights set on "reshaping the landscape of devised theatre". With a focus on fusing classic texts with unique contemporary themes, The Ensemble's inaugural production, I Wish I Was a Macbeth's Witch, promises "a visceral, sensory experience". Set to premiere on December 16 at Muktangan, the play will introduce audiences to a world where Macbeth and Frankenstein intertwine to explore the five senses of human nature.

A Fusion of Two Legends

Aneek Chaudhuri’s vision for I Wish I Was a Macbeth's Witch is rooted in combining the tragic weight of Shakespeare's Macbeth with the existential questions of Mary Shelley's Frankenstein. "This layered narrative will examine the interplay between ambition, power, identity, and humanity," said Aneek. The production's "inventive nature" stems from Chaudhuri’s belief in storytelling that transcends traditional boundaries, blending canonical literature with modern psychological insight.

"This rendition of Macbeth reimagines the classic characters and plot, with an infusion of Frankenstein's motifs of creation, destruction, and the anguish of a being who grapples with their purpose. The story challenges the audience to view Macbeth not merely as a man driven by ambition but as a figure akin to Frankenstein’s creature — trapped, questioning his existence, and tethered to a fate he cannot escape," said Aneek. Lady Macbeth, portrayed by Tapasya Dasgupta as a haunting violinist, adds a poetic, musical depth, playing her instrument almost as an extension of her soul's turmoil.

“Tapasya is a brilliant performer and here, she is doing a lot more than just acting. That's a surprise! I have known her for a long time but never got the opportunity to work with her though," said Aneek.

The Ensemble's core mission lies in devised theatre, a method where the work is created collectively, with actors and creatives contributing ideas, scenes, and themes as they develop. "Through this collaborative process, the play is designed to explore human nature in its rawest form, delving into how our senses shape experiences, memories, and desires," said Aneek.

Chaudhuri emphasises that the play will engage audiences by invoking all five senses, a strategy seldom seen in theatre. "The interplay of sound, visuals, touch, taste, and smell aims to evoke a sense of immediacy that pulls the viewer into Macbeth's tortured psyche and Lady Macbeth’s haunting presence. Each scene has been meticulously crafted to resonate with one or more senses, offering an immersive experience that taps into the primal aspects of the characters’ journeys," said Aneek.

Casting Choices and Artistic Dynamics

In assembling a cast, Chaudhuri has sought talent that aligns with his vision of interpreting classic roles in groundbreaking ways. Aneek's Macbeth is less a dictator and more a tragic figure searching for self-understanding amid his descent. Meanwhile, Tapasya Dasgupta’s portrayal of Lady Macbeth adds a layer to the production. "As a violinist, she embodies her character’s shifting mental state through music, which is integral to the play’s narrative structure. The violin, in this rendition, is more than an instrument — it’s an extension of Lady Macbeth’s psyche, adding a haunting melody to her dark ambitions and internal conflict," said Aneek.

Supporting roles as witches feature actors Rajnandini Pal, Triparna Sen, Arundhati Sinha, and Mouli Bhowmick, each of whom brings depth to their roles in the context of this fusion play. "Their presence enhances the collaborative ethos of devised theatre, helping shape the narrative through interactions that highlight Macbeth's internal and external battles," said Aneek.

A Global Vision

Following its debut at Muktangan, I Wish I Was a Macbeth's Witch will journey across continents, with performances slated for international venues. "This global tour underlines The Ensemble's mission to bring universal themes to diverse audiences while fostering cross-cultural dialogue. Each staging will not merely replicate the original performance but will adapt to the environment and culture of its new locale, incorporating the input of local artists and technicians wherever possible," said Aneek.

The Ensemble’s approach reflects Chaudhuri’s commitment to the idea of “fluid theatre,” where the production evolves with each performance. In line with the devised theatre tradition, the actors, direction, and creative elements will adapt, ensuring a unique experience for the audience.

The Translation Process

Swati Basupal has undertaken the task of adapting Chaudhuri’s script, retaining the play’s thematic essence while ensuring accessibility to a broader audience. "Her translation bridges linguistic gaps, allowing Bengali audiences to appreciate the nuances of the text. Basupal's contribution plays a crucial role in amplifying the universality of the play’s message, showing that themes of ambition, creation, and human complexity transcend language barriers," said Aneek.

Muktangan, feels Aneek, provides an ideal setting. Known for its intimate, dynamic space, the venue aligns with The Ensemble’s goals of creating an immersive environment. The setting fosters close interaction between actors and the audience, essential for the devised theatre experience that The Ensemble champions.

"Muktangan’s atmosphere is expected to intensify the sensory aspects of the production, enveloping the audience in an environment that feels close, personal, and urgent. This intimacy ensures that the sounds, scents, and sights become all the more visceral, pulling the audience into the world we have meticulously crafted," said Aneek.

The Path Ahead

With I Wish I Was a Macbeth's Witch as its launchpad, The Ensemble is already envisioning future works that explore human nature’s sensory experiences. Chaudhuri has expressed a keen interest in delving further into the five senses, with each production intended to spotlight a different sense as its central theme.

"This approach positions The Ensemble as pioneers of a form of theatre that doesn’t merely depict reality but viscerally engages with it. By challenging audiences to feel, smell, see, taste, and hear the characters’ worlds, The Ensemble is fostering a deeper form of engagement — one that transcends traditional theatrical boundaries," said Aneek.

This is a transition for Aneek too, from arthouse films to theatres; on the other hand, his current feature film The Zebras is independently competing for the Oscars 2025.

Meanwhile, Joel Coen's The Tragedy of Macbeth is an important reference point for Aneek. "The Tragedy of Macbeth focuses on stark minimalism and the psychological unravelling of its titular character, while my play reimagines the narrative with Lady Macbeth at its core, transforming her into a violinist embodying ambition and fragility. Where Joel Coen employs visual abstraction and shadows, we have used musical instruments like the violin and harmonica to externalise inner turmoil and human senses. Both works challenge traditional storytelling, yet my contemporary approach shifts the power dynamic, granting Lady Macbeth a central, sensory-driven agency," he said. The witches in both works remain crucial, with Aneek reinterpreting them as symbolic and interactive forces.

"Muktangan will serve as the starting point for a production that is certain to resonate, provoke, and inspire audiences across the world. For those who seek theatre that challenges, questions, and immerses, The Ensemble’s debut promises to be an unforgettable experience," signed off Aneek.