First produced 2004
Concept and Direction: Vikram Iyengar
Created with:  Anubha Fatehpuria (Joyoti Bose and Dana Roy)
Archana Ramaswamy
Debashree Bhattacharya
Suman Sarawgi
Music:  Nageen Tanvir
Percussion: Siddhartha Bhattacharyya
exploring the facets of Lady Macbeth
Crossings weaves together the dance forms of Kathak, Bharatnatyam and Manipuri alongside text-based drama to explore the many facets of Shakespeare's Lady Macbeth. Conceived and directed by Vikram Iyengar, this formed part of his Sangeet Natak Akademi National Junior Fellowship project looking at bringing together the languages of classical dance and text-based drama. With references to other figures from Indian mythology such as Putana and Shakti, Crossings examines what it means to be feminine and / or de-feminised. Fluid borders such as these are addressed in both the content and style of the presentation: crossings between and within characters, between concepts of gender, between verbal and gestural languages, between and within forms of performance …

Four performers represent facets of Lady Macbeth in constant conflict to create a fluid performance woven from four strands - a verbal text constructed from the dialogue of the original play, a movement text drawing from the dance forms, a musical text created in response to both words and movement, and a symbolic text crafted from the imagery in Macbeth and the symbolism which imbues Indian classical dance.

This production began without a name, without a form, without a premise. It began with a fascination for the character of Lady Macbeth, a fascination intensified by witnessing a 45-minute solo performance of the character by a virtuoso Chinese Opera actress in 2001. Ideas and images began to form, a desire to explore the Lady through performance languages familiar to me was born. [more]

What do dancers come equipped with? Their bodies, a vocabulary of movement, a language of gesture and expression, codes of communication-some easily decipherable, some hopelessly obscure as far as the lay audience is concerned. How did one go about making things clear for an audience uninitiated into the codes of classical dance? How, in fact, was it possible to interpret Lady Macbeth through classical dance? After all, she does not fit into the mould of any Nayika that we dancers are familiar with. Did that mean that our dance forms could not or would not sustain her? Was there no way in which we could create the essential power of this character through what our forms offered and worked with?


At the first Mahindra Excellence in Theatre Awards in February 2006, Crossings was nominated from eastern India as the best production in the Emerging Theatre category. At the festival in Delhi showcasing the nominees from the four regions of the country , Crossings won the maximum awards in the Emerging Theatre category, four in all:
Best Direction for Vikram Iyengar
Best Supporting Actress for Archana Ramaswamy
Best Innovative Sound Design for Nageen Tanvir
Best Costume Design for Vikram Iyengar.
A performance that has a flow, movement, musical and symbolic texts.  Certainly one of the best.
- Romesh Chander
 The Hindu, New Delhi, February 2006

Myriad Faces of Mrs. Macbeth: [a] riveting interplay of power and passion through Kathak, Manipuri, Bharatnatyam, or just monologue.
With three dancers, an actress, a singer and a percussionist, the young Vikram Iyengar has adapted the Shakespearean text into an ambitious and challenging dance drama.
- Reshmi Sengupta
The Telegraph, Calcutta, April 2004

Crossings -