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How do you reimagine one of the Mahabharata ’s most complex and tragic heroes? Director Kulvinder Bakshish Singh answers this by blending theatre, dance, and martial arts in a visually-stunning production that brings Karna ’s life to the forefront with the play Karn, which was recently performed at GD Birla Sabhaghar. With an all-women cast, minimal props, and a strong emphasis on traditional yet fading Indian art forms, the play challenges audiences to look beyond familiar narratives and reconsider the legacies of both Karna and his contemporaries. The fluidity with which the three actors slip into different roles throughout the course of the musical drama is remarkable. Scenes from the Mahabharata are reimagined to spotlight the life and times of Karna, the eldest son of Kunti.

Director Kulvinder Bakshish Singh explained that this production is the beginning of a three-part saga revolving around epic characters. As he studied multiple versions of the Mahabharata, and plays based on individual incidents from the lore, he pieced together a narrative that reflects the life of a warrior often chastised for his humble beginnings, and one who fought against the racial hierarchy of his time.

Singh shared, “Our old art forms are being revered abroad, but in India they are getting forgotten. I realized we must preserve traditions that are fading, art forms with fewer and fewer practitioners as time goes by. While writing the script, I wanted to tell a story that also became a vehicle for lesser-known Indian dance and martial arts forms, such as Mayurbhanj Chau, Kalaripayattu , and Manipur’s martial art Thang-Ta in theatre.”

The play sported an all-women cast featuring Vineeta Joshi, Noyrika Bhatheja, and Farha. Their agile, emotionally charged performances compelled the audience to reflect on how barriers of race, caste, and religion shaped epic mythology — and how those questions still resonate today. Stagecraft played its part too: lights, smoke, and symbolic gestures, used with restraint, heightened the sombre mood while keeping the story grounded in empathy.

Vineeta Joshi’s portrayal of Karna was a commanding presence, her performance layered with pathos and strength. Farha’s portrayal of Duryodhan, often remembered only as an antagonist, pushed audiences to reconsider their stance on the much-maligned prince. Noyrika Bhatheja, as Krishna/Madhav, brought an almost lyrical grace to her role, embodying the fluidity of divinity with ease. “All three women came from different backgrounds — an actor, a model, and a dancer — yet they blended seamlessly into the production,” Singh remarked with pride. By the end, what lingered was not just a retelling of Karna’s fate but a meditation on forgotten art forms, the weight of prejudice, and the timeless search for dignity and recognition.

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“The whole production was visually stunning. The grace with which the women moved was incredibly moving to watch,” said Vikas Agarwal, an entrepreneur.


“Although I knew some parts of the story, the way this play showcases the character of Karna is truly unique. I learned so many aspects of his life I hadn’t known before, and it really made me rethink how we perceive him,” shared Savita Jaiswal, homemaker and theatre enthusiast