In a darkened auditorium in Dandenong this September, the living will gather to meet the dead. But not in the way you think.
Actomania, Melbourne’s dynamic Bengali theatre group, is set to premiere Tenader Katha, a genre-bending play that fuses horror and humour with deeply rooted cultural storytelling.
Woven from tales sourced across continents and cultures, this two-and-a-half-hour production promises to deliver more than a few goosebumps and giggles; it offers a reflection on life, loss, and the unseen ties that bind us all.
Speaking to The Indian Sun, Pritom Dutta, co-writer and director, describes the play as an ambitious experiment in theatrical storytelling. “I was inspired after watching the smash-hit West End thriller Ghost Stories at the Athenaeum Theatre. That’s when I realised horror in theatre offers something unique—a surreal experience you just can’t get on screen.”
But bringing that vision to life on a Melbourne stage hasn’t been without its hurdles. As a not-for-profit, Actomania is run entirely by volunteers who trade day jobs for the stage lights after dark. “We’re not professionals,” says Dutta, “but we wanted to recreate a professional stage experience using all the tools available to us such as lighting, sound, set design. That’s where the real challenge lay.”
The other challenge was making these stories resonate with Melbourne’s diverse audience. Dutta co-wrote the script with Kolkata-based playwright Ebong Ipsita. The collaboration spanned time zones, with Banerjee infusing the script with subtle social commentary, particularly on gender violence, while Dutta adapted Western ghost tales into Bengali settings.
“Humour connects us to our roots, but horror is universal,” he reflects. “The humour is rooted in Bengali sensibility, but the horror is drawn from around the world. We reinterpreted and contextualised them to speak to a multicultural Melbourne audience.”
One of the play’s core strengths is its ensemble cast, many of whom are long-time collaborators and co-founders of Actomania, such as Tarun Bhattacharya, Khadiza Bithi Akhter and Saumitra Saha.
Bhattacharya, who has been part of Melbourne’s theatre scene for over three decades, praises the play’s ability to merge the emotional with the eerie. “It’s not just about ghosts. One story, for instance, is about losing a loved one and the yearning to give something back. It’s deeply moving.”
Without giving much away, Saha says, “Four stories merge beautifully and flow seamlessly from one to the next. The overarching message is profound: we are all part of the universe, whether living or departed.
“In Bengali, we refer to spirits respectfully as tenara—much like how we use the honorific tara-ra for elders. You must treat these ghosts with respect. The play is essentially about the stories of the departed,” adds Bhattacharya.
The play’s spine-tingling atmosphere owes much to first-time sound designer Pratik Deb, a software developer from Assam. “I’ve used eerie ambient sounds to build tension, then suddenly thrown in humorous effects to break it.”
Dance sequences, a rarity in horror theatre, have also been added to bring a lively, energetic vibe to the stage.
The group rehearses every weekend balancing work, family, and creative commitment. “It’s not easy, but it’s worth it,” says Rajibul Islam, who plays two contrasting roles. “I enjoy being involved in everything, from prompting backstage to arranging props.”
Meanwhile, Jyotismita Das, an Assamese-Bengali actor, found unexpected depth in her role as a disgruntled wife: “Every character teaches you something new about yourself.”
Aniruddha Ghosal, one of the main casts, shares, “Every rehearsal has been a journey of self-discovery. What’s remarkable is the discipline. We have fun, yes, but the founders push us to maintain a professional standard.”
Founded in 2019, Actomania has carved a niche in Melbourne’s Bengali theatre scene. Tenader Katha, directed by Dutta, is their most ambitious yet. But challenges persist as funding remains scarce. “Grant bodies often don’t grasp what goes into amateur theatre,” says Bhattacharya.
This time round they have some support. “We are thankful to Dandenong Council and the broader Melbourne community for recognising what we do. This encouragement really matters,” says Saha.
More than just a performance, Tenader Katha is a celebration of multicultural teamwork. Akhter, who is originally from Bangladesh, says, “Like our earlier production Bhooter Bhabhisyat, we’ve explored many different themes. But one thing always stays the same — our strong belief in the project and the importance of connecting with the audience.”
As Dutta says, “Theatre isn’t just about language, it’s about shared emotion.”
At its core, Tenader Katha is more than just ghost stories on stage. It’s a hauntingly heartfelt reminder that community theatre, when fuelled by passion, vision, and cultural authenticity, can be just as compelling as any mainstream production.
Tenader Katha plays at Drum Theatre, Dandenong, on Saturday, 6th September. For tickets, click here
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