May 06 2026 to May 06 2026 7 p.m.

Where

Bangalore International Centre

7 4th Main Rd, Stage 2, Domlur 560071

Event Description

Khushwant Singh once told Amrita Pritam that her entire life could fit on the back of a revenue stamp. She took that as a challenge and titled her autobiography Raseedi Ticket.

That was Amrita Pritam. Fiercely herself, unapologetically free, and at the same time the voice of a grieving nation. She lost her faith in God at eleven, watching her mother die while she prayed. She wrote Ajj Aakhaan Waris Shah Nu when Punjab was burning. She spent years writing one man’s name on every scrap of paper she could find.

Directed by Savita Rani and performed in English by Shalom Sannutha, this eponymous play draws from her autobiography, stories, and poetry, moving through her childhood, her loves, and her losses.

Her choice, made again and again, was to live as a free woman.

Credits:
Production House: Nirdigantha
Design & Direction: Savita Rani
Script: Sudha Adukala (Kannada Language)
Translated to English by: Shalom Sannutha
Actor: Shalom Sannutha
Music: Munna Mysore
Light Design: H C Manjunath
Sets & Props: Khaju Gutthala

In collaboration with:

Supported by:

Artists

Shalom Sannutha
Actor
Shalom has been on stage since 2000. Over two decades, she has worked under directors of national and international repute such as B.V. Karanth, Prasanna, and H.S. Umesh, in plays by Bertolt Brecht, Badal Sarcar, and Shakespeare, among others. She has played actor, director, and musician across productions.

Offstage, she teaches. Physics, mathematics, theatre: sometimes all three in the same week. She has spent years building pedagogy around the arts, designing science plays on figures like Marie Curie and creating theatre-based curriculum for school subjects ranging from trigonometry to civics. She currently serves as theatre teacher coordinator at Nirdigantha, working at the intersection of child psychology and performance. She plays the mandolin, guitar, and veena, and leads Naavu, an art rock band she co-founded in 2013, specialising in classical, western, folk, sufi, and theatre music. She has worked as an independent music director for productions including Gayagalu, the Kannada rendition of Leo Tolstoy’s How Much Land Does a Man Need.

Savita Rani
Direction & Design
Savita Rani graduated from the National School of Drama, New Delhi in 2008, specialising in acting. She works now as an independent performer, researcher, writer, director, and acting trainer. Her practice is cross-disciplinary and introspective, drawing from multiple traditions. She was awarded the Serendipity Arts Foundation theatre grant in 2020–21.

Munna Mysore
Music
Sundaresh Devapriyam, Munna to most, has scored music for over fifty stage productions across diverse genres and performance styles. His work is marked by a keen sensitivity to narrative, character, and mood, allowing his compositions to elevate storytelling and create immersive audience experiences. 

Beyond the stage, Munna founded Soul Music School, where he has spent years training aspiring musicians, grounding them in technique while helping them find their own voice. He has served in academia as lecturer and later as college principal, bringing the same discipline to education that he brings to composition.

Recently, he made his debut as music director in both Kannada and Tamil cinema, expanding a practice already marked by range.

H C Manjunath
Light Design
Manjunath trained at Vistar Rangashale, Koppal, and went on to work with Rise and Waves Lighting Company and Prabhat Lighting Company in Bengaluru, where he developed his technical expertise across live productions of varying scale and complexity.

His portfolio spans productions including Kadadida Neeru, Post Box Number 9, and Gandhi vs Gandhi, among many others. Each production has added a different register to his understanding of how light moves through a space and what it can ask an audience to feel.

Manjunath brings to each collaboration a sensibility shaped equally by traditional stagecraft and contemporary technique. He approaches illumination not as decoration but as a structural element of storytelling.