DRoho Prem Nari

Synopsis of Droho Prem Nari

In 1929’s Jun-July edition of the newspaper “Kallol”, a news was published in the literature section, “Nazrul wrote an opera titled as Marutrisha. Recently, the title has been changed to Aleya. Probably, this opera will be acted in Manmohon” . But the play was staged at the Natyaniketon of Calcutta, in the 19th December of 1931 AD and it gained a huge popularity.

The love affair in this dusty earth is- the light of wiil-o’-the-wisp. It was born in moorland of wet heart. Taking amiss traveler from one pathway to another is the trait of it. The wretched people jumped into its flare like the flies. Three gentlemen the ladies – symbol of evermore male-female – got burnt in this flame, this play is all about this.

The heart of ladies – their love is full of mists. It is also a wiil-o’-the-wisp. It’s covered in a forever mystery that it when misleads whom, when wants whom. Whom it neglected always, wants back again when he goes away. Whom it wanted always- he falls behind to his rival who had gone away.
Man also looks for his dream lady from heart to heart of others. So, the one who is beautiful to him today becomes moldy tomorrow. It’s a never ending journey towards the pilgrimage of heart. As a result, it offers worship in one temple and falls down on the altar of another temple.

This mystery of heart made human forever-mysterious, made the earth diversely beautiful. The play “Droho Prem Nari” created on the resort of Nazrul’s musical drama “Aleya” is an indication to that mystery.

Director’s Word:

“Prayer of mine if I born in this earth again

I may come only to praise you in poems songs”.

These words penned by Nazrul intending to Kobiguru Rabindranath Tagore evident His endless respect towards Kobiguru. He wrote- “I don’t just respect the poet of the world, but worshiped him with all my hearts. From my childhood, worshiped his photograph in the morning and evening with odor-incense-flower-sandal. If I had ever sat far from him hesitantly, he took me near to him with affection. I felt like my devotion became worthwhile”. The purpose of writing these lines is- Prangonemor has established the dramas of Rabindranath as a regularly practiced attempt. So, it is very common that Prangonemor will surely stage the dramas of Nazrul. Because we announced at the beginning that Prangonemor will stage other native and foreign dramas along with Rabindranath’s.

Now it’s about “Droho Prem Nari”. Neither war, nor weapon, not even jealousy or grudge, It was love that won at the climax of the drama. So, the concept of revolution love and woman was mainly considered while naming the play. The main attention of the playwright was in creating a dreamy mist, not in the depth of the story. The poet wrote in one of his personal writings, “What illusion I’m, what I’m saying- you won’t find any proper interpretation of them, have you ever entered into the maze of the heart my friend? It has no way, no solution, no genuine meaning, nothing”. To me, the characters of this play were very similar to this, even after realizing all the realities they lose to their hearts consistently. A lot like the mystery world of heart.

I gave importance to those who had been working as the devoted members of the troupe while selecting the performers for this play. May be they are not skillful actors. Still I took risk of working with them who never get the chance getting praises by displaying their brilliant performance. But the smell of their labor and sweat clings with every work of the troupe.

The chance that was given to me by my spiritual drama teacher, respectable Ananta Hira and Nuna Afroj to build myself as a director is a very rare incident in our arena. Not only that but also they made the play rigged by acting in it. I can’t even think that the two persons with whom I become starchy while talking about little things, how easily they tried to act in this play accepting my every direction. My reverent gratitude at their footsteps.

Government and non-government organizations should have pioneer role in discovering and researching the creations of Nazrul. The literary philosophy of Nazrul should be more practiced in our stages, in our lives. This production that I directed is like a child of mine, humbly seeking blessings from everyone for the welfare of it.
Ramiz Raju

Droho Prem Nari Back Stage & On Stage 

  Direction:  Ramiz Raju
Premier show – 17 june 2010
Venue – Studio Theatre Hall,
Bangladesh Shilpokala Academy, Dhaka

On Stage




Nuna Afroz


Ananta Hira


Suvechha Rahman


Sarwar Alam Saikat


Ister Rani Mondol Sumi


Anindra Kishore


Rigan Sohag Ratna


Bandhu Tuhin/Nizam Liton

Shoho Shenapoti

Jayanl Abedin Monir/ Ahmed Sojan


Ister Rani Mondol Sumi


Ahmed Sojan


Biplob, Litu, Sojan, Raj


Saikat, Suvechha, Sumi, Rigan, Monir, Kishore, Tuhin, Simanta, Raj, Litu, Sojan, Asha, Usha

Back Stage





Kazi Nazrul Islam


Ramiz Razu

Stage & Costume

Nuna Afroz


Tawfique Azim Robin

Assist. Light

Nazib Mahfuz


Shishir Rahman

Assist. Music

Zakir Hossain Shiplu


Sharmin Islam Sathi, Zakir Hossain Shiplu, Shishir Rahman, Priyanka, Chaitaly Somaddar, Ramiz Razu


Feroz Khan ( Sitar ), Asit da ( Eshraj ), Rana ( Kongo ), Shiplu ( Tabla )



Music Operator

Abu Hayat Mahmud Jashim


Ramiz Razu

Techture coating

Samina M Karim

Stage Making Management

Al Mamun




Ramiz Razu

Assist. Choreography

Ister Rani Mondol

Press & Publicity

Sarwar Alam Saikat

Stage Manager

Anindra Kishore

Assist Stage Manager

Ahmed Sojan