At a time when storytelling is increasingly consumed through theatre screens, television, and mobile devices, the revival of large-scale mythological dance-dramas on stage feels both timely and essential. At the Kendra Dance Festival 2026, held recently in Delhi, Shriram Bharatiya Kala Kendra (SBKK) revived three of its landmark productions — ‘Chakravyuh’, ‘Shri Durga’, and ‘Kartikeya’— now enriched with contemporary aesthetics and renewed relevance.

For 83-year-old Shobha Deepak Singh, who helms SBKK, “it stems from the need to bring these stories back to the stage for today’s audience. There is an artistic urgency, but also a deeper cultural impulse.” She inherited a love for the arts from her parents, Lala Charat Ram and Sumitra Charat Ram.

In 1952, Sumitra Charat Ram founded SBKK, which soon emerged as one of the foremost institutions championing Indian performing arts. Its dance repertory, established in 1957, developed a distinctive vocabulary of narrative movement, reimagining mythological tales through ensemble choreography, evocative music and innovative theatrical design.

For SBKK, revisiting the old productions is also about continuity. “A repertoire survives only when it is performed, rehearsed, taught and passed on,” says Shobha, who believes the institution’s past works offer young dancers access to a demanding and layered performance tradition, preserving not just the choreography but an entire way of working.

The productions are steeped in history. ‘Kartikeya’ started as ‘Kumar Sambhav’ in 1958, ‘Chakravyuh’was first staged in 1993, and ‘Shri Durga’ in 2007. Their revival is marked by thoughtful reworking—introducing fresh choreography, lighting, costumes, and sharper storytelling, all while preserving the original essence.

Each production has its own visual and movement language. While ‘Chakravyuh’ and ‘ShriDurga’ have been choreographed by Shashidharan Nair, Raj Kumar Sharma has choreographed ‘Kartikeya’.

‘Chakravyuh’, inspired by the Mahabharata, centres around Abhimanyu’s fateful entry into the battle formation. Rooted in the martial art-energy of Mayurbhanj Chhau, the choreography has the ensemble forming labyrinth patterns. “Abhimanyu’s tragic situation is depicted as an emotional isolation, beautifully captured through aptly choreographed movements,” says Shobha.

‘Shri Durga’ moves beyond mythology to showcase devi as a symbol of feminine strength, resistance, dignity and selfhood. Through expansive group choreography and dramatic musical shifts, the production pursues the goddess’ transformation from a serene power to a fierce protector.

‘Kartikeya’ focuses on a relatively underexplored figure in dance. Originally it was choreographed by Pt Birju Maharaj and set to music by the Dagar Brothers. “He is born for a divine purpose, trained as a warrior and destined to restore balance. What draws us is his journey from innocence to leadership. ”Blending classical forms with contemporary theatrical elements, the production weaves together episodes on Shiva, Parvati and Ganesha.” 

The choreographies draw from Kathak, Bharatanatyam, Odissi, Kathakali, Chhau and folk traditions. Shobha points out that “It is not about breaking away from tradition, but making it alive for the present.” This is reflected in scenography, lighting and costume detailing, particularly in ‘Kartikeya’ where new designs and music compositions add depth. In the digital era, these productions underline the power of live performance.