From Dashavatara to Modern Marathi Theatre: The Evolution of Marathi Theatre

In a recent interview, veteran actor Paresh Rawal shared how Marathi plays deeply influenced him, saying they were something he “watched and learnt a lot from”. He urged audiences not to miss Sangeet Devbabhali, Prajakt Deshmukh’s musical exploration of the lives of the wives of Sant Tukaram and Lord Vitthal—a testament to the emotional and spiritual depth of Marathi theatre. 

With a theatrical tradition stretching over 150 years, Maharashtra is home to a cultural legacy as vast as it is varied. From folklore to modern-day narratives, Marathi theatre offers a rich palette of genres—comedy, drama, thriller, horror, romance—each resonating with the everyday middle-class Maharashtrian experience. This isn’t just theatre—it’s memory, identity, and emotion, brought to life on stage. Marathi theatre, a vibrant tapestry woven through centuries of evolution, is a compelling chronicle of social change and artistic innovation.

The Roots: From Cave Inscriptions to Court Patronage

Long before proscenium stages and spotlight performances, Maharashtra’s connection with theatre dates back to the 1st century CE. Inscriptions found in the Nashik caves, attributed to Gautami Balashri (mother of Satavahana ruler Gautamiputra Satakarni), mention Utsava and Samaja—early forms of public entertainment sponsored by royalty. These were not just diversions, but vital instruments of cultural expression and community bonding.

Centuries later, in the 15th–16th centuries, modern Marathi theatre found early form under Sarfoji Raje Bhosle of Thanjavur (a cousin of Chhatrapati Shivaji Maharaj), who composed plays in both Telugu and Marathi. Though preserved in the Saraswati Mahal Library, these works, performed outside Maharashtra and lacking a sustained tradition, remain a debated part of the Marathi theatrical lineage.

A more immediate artistic influence came from Karnataka's Yakshagana, which captivated audiences in Maharashtra with its dazzling fusion of music, dance, and theatrical storytelling. Marathi theatre absorbed elements from Yakshagana’s dramatic structure, as well as from local traditions like Kirtan and Dashavatara—laying the groundwork for a uniquely Maharashtrian dramatic idiom.

The Birth of a Tradition: Vishnudas Bhave and the 19th Century Theatre Boom

In 1843, Vishnudas Bhave—a puppeteer from Sangli—brought to life Sita Swayamvar, considered the first Marathi play to gain public acceptance. Inspired by Yakshagana, he introduced live music, visual spectacle, and mythological storytelling. With the backing of Maharaja Chintamanrao Patwardhan of Sangli, Bhave toured across Maharashtra with his Sanglikar Natak Company, performing mythological dramas enriched with elaborate battle scenes and musical embellishments.

These plays, often unscripted and rooted in oral storytelling, mesmerised audiences with familiar narratives told anew, cementing Bhave as the father of modern Marathi theatre. His contributions were commemorated in 1943 with the centenary celebration of Marathi theatre, when Marathi Theatre Day was established on November 5.

The Music of the Stage: Rise of Sangeet Natak

The fusion of music and drama found its full expression in Sangeet Natak, or Marathi musical theatre. While Bhave introduced musical elements, it was Annasaheb Kirloskar who formalised the genre with his 1880s adaptation of Kalidasa’s Abhijnanasakuntalam as Sangeet Shakuntal. Here, music wasn’t an accessory—it was the soul of the narrative.

Following his lead, playwrights like Govind Ballal Deval (Sangeet Sharada) and Krishnaji Prabhakar Khadilkar (Sangeet Manapman) elevated the form. These plays tackled both social reform and romantic drama, blending poetic dialogue with classical and semi-classical music. Within this movement emerged Natyasangeet—lyrical, expressive musical numbers that gave voice to characters’ deepest emotions.

Iconic performers such as Bal Gandharva, Master Dinanath Mangeshkar, Ram Marathe, Jaymala Shiledar, P. L. Deshpande and Vasantrao Deshpande brought these plays to life with unmatched musicality. Their legacy endures in recordings, revivals, and the continued popularity of Sangeet Natak in both rural and urban Maharashtra.

The Shift Toward Realism: Rise of Modern and Experimental Theatre

In the 1960s, as Indian theatre largely relied on Western adaptations, Marathi theatre took a bold leap. A new generation of original playwrights—including Vijay Tendulkar, Satish Alekar, and Mahesh Elkunchwar—emerged, revolutionising the stage with locally rooted, socially conscious stories.

Tendulkar’s plays (Ghashiram Kotwal, Sakharam Binder) tackled themes like power, sexuality, and moral decay. Alekar’s Mahanirvan used absurdist humour to reflect on death and society’s hypocrisies, while Elkunchwar’s Wada Chirebandi offered a sweeping, introspective family chronicle.

This was theatre as confrontation—art that held a mirror to middle-class anxieties, hypocrisies, and societal breakdown. It spoke directly to the lived experience of its audience, often in stark, uncomfortable terms.

The Experimental Wave: 1960s to 1990s

Parallel to the mainstage revolution, a thriving experimental theatre movement grew in Maharashtra. Sparked by post-war anxieties, political disillusionment, and economic crises, artists sought new forms of expression.

Vijaya Mehta, directing Tendulkar’s work, became a pioneering figure in this parallel movement. Govind Deshpande brought a deeply intellectual and political lens to the stage. In the 70s, the second wave of experimental writers—Alekar, Elkunchwar, Deshpande—expanded the form’s boundaries.

In the 1990s, playwrights like Makarand Sathe, Jayant Pawar, and Shafat Khan addressed themes of liberalisation, communalism, and caste. Their theatre was linguistic, layered, and charged, reshaping Marathi theatre’s artistic vocabulary.

Breaking Norms: Women in Theatre

One of the most revolutionary changes in Marathi theatre was the prominent involvement of women as writers, directors, and performers. Artists like Sulabha Deshpande, Sai Paranjpye, Bhakti Barve, and Vijaya Mehta challenged patriarchal norms and expanded the representational canvas of Marathi theatre.

Their leadership not only transformed theatre but also made it accessible and empowering for female audiences and performers alike. Today, Marathi Rangbhoomi has stars like Mukta Barve, Spruha Joshi, Leena Bhagwat, Aditi Sarangdhar, Vibhawari Deshpande, Parna Pethe, Sakhee Gokhale, Kadambari Kadam, and so many more who are showcasing their endless talent.

Infrastructure, Accessibility, and Economic Vitality

With the evolution of content came the development of infrastructure. Makeshift venues gave way to purpose-built theatres. Today, Mumbai boasts over a dozen dedicated Marathi theatre venues, many supported by state subsidies. This ensures affordability and creative freedom for artists while keeping ticket prices within reach for a diverse audience.

Unlike other regional traditions that have faded, Marathi theatre competes with Bollywood in both frequency and popularity. Iconic plays sell out weeks in advance, and ticket prices can rival film screenings—testament to the industry’s economic independence and mass appeal. Even today, every city in Maharashtra bathes in pride when a new play does its first performance there.

A Cultural Conscience: Theatre as Companion and Catalyst

For the Marathi manoos, theatre isn’t just leisure—it’s a dialogue, a reflection, a call to action. It captures both the mundane and the monumental aspects of life. It challenges caste, class, gender roles, and blind traditions—not with a sermon, but with a story.

Whether it’s the musical charm of a classic Sangeet Natak or the jarring realism of a modern drama, Marathi theatre continues to evolve. It remains that friend who can make you laugh, cry, and rethink the world around you.

From a Rasik Prekshak (Ardent Fan) of Marathi Rangbhoomi

I remember watching my very first play, ‘Ga Ma Bha Na’ by the students of Ramnarian Ruia College in Mumbai. Based on Milind Bokil’s novel ‘Shaala’, the play stayed with me for decades and ignited the passion for natak. Recently, the revised version of the play ‘Charchaughi’ turned my life around. Written by Prashant Dalvi and directed by Chandrakant Kulkarni, this play was brought back to life after decades with a new cast and a twist in the story. Not only did it reflect on women making unusual life choices, challenging societal norms and embracing independent thinking, but also sparked a conversation between a mother and daughter who had seen the two different versions of the same play, decades apart. That’s the magic of Marathi theatre!