In mid-20th Century Bengal in eastern India, some of the biggest female stars on stage were actually men. Foremost among them was Chapal Bhaduri - better known as Chapal Rani - the reigning queen of jatra, a travelling theatre tradition that once drew vast, fervent crowds.
Male actors playing female roles were a familiar trope across global theatre, from Europe to Japan and China. In Bengal, the form flourished in jatra - a rural, open-air spectacle of music, myth and melodrama that often rivalled cinema in reach, though not in rewards. Rooted in epic and devotional storytelling, it played out on all-sided stages, driven by heightened voice, gesture and costume.
In a new book, Chapal Rani: The Last Queen of Bengal, writer Sandip Roy traces Bhaduri's journey from stardom to obscurity - and, in doing so, captures a vanishing world where gender itself was an act.
For decades, female roles in jatra were played by men known as purush ranis, or male queens. Yet, their presence was met with stigma; colonial-era elites often dismissed jatra as rustic. By the 1950s, the landscape began to shift, as opportunities for women on stage increased.
Born in 1939 to stage actress Prabha Devi, Bhaduri began acting at 16, embracing femininity despite societal constraints. His portrayals went beyond caricature, delivering immersive performances that challenged stereotypes. Off-stage, Bhaduri navigated complex social dynamics, choosing not to label his identity amidst changing cultural norms.
As the jatra tradition faded and female representation grew, Bhaduri found himself increasingly marginalized, ultimately fading from the limelight. Today, he lives in a retirement facility, reflecting on a storied yet underappreciated career. Roy's documentation of Bhaduri's life shines a light on a unique narrative of resilience, artistic legacy, and the fluidity of gender in performance history.
Male actors playing female roles were a familiar trope across global theatre, from Europe to Japan and China. In Bengal, the form flourished in jatra - a rural, open-air spectacle of music, myth and melodrama that often rivalled cinema in reach, though not in rewards. Rooted in epic and devotional storytelling, it played out on all-sided stages, driven by heightened voice, gesture and costume.
In a new book, Chapal Rani: The Last Queen of Bengal, writer Sandip Roy traces Bhaduri's journey from stardom to obscurity - and, in doing so, captures a vanishing world where gender itself was an act.
For decades, female roles in jatra were played by men known as purush ranis, or male queens. Yet, their presence was met with stigma; colonial-era elites often dismissed jatra as rustic. By the 1950s, the landscape began to shift, as opportunities for women on stage increased.
Born in 1939 to stage actress Prabha Devi, Bhaduri began acting at 16, embracing femininity despite societal constraints. His portrayals went beyond caricature, delivering immersive performances that challenged stereotypes. Off-stage, Bhaduri navigated complex social dynamics, choosing not to label his identity amidst changing cultural norms.
As the jatra tradition faded and female representation grew, Bhaduri found himself increasingly marginalized, ultimately fading from the limelight. Today, he lives in a retirement facility, reflecting on a storied yet underappreciated career. Roy's documentation of Bhaduri's life shines a light on a unique narrative of resilience, artistic legacy, and the fluidity of gender in performance history.
