Shat Gahater Kanakori presents the struggle of a mother and her seven sons who symbolically represent Bangladesh and its citizens. Momotaz's script focuses on the destruction of Bangladesh during the Liberation War and the deterioration in the polity on account of the unprincipled leviathan rulers after the Liberation.

Ali Jha, the leviathan ruler who wields power from behind the curtain, is symbolic of the rulers in Bangladesh. To serve his narrow political ends, Ali Jha deceives the intellectuals, students, artists and poets of the country who are represented by seven sons in the play.

In Shat Ghater Kanakari, Momotazuddin Ahmed has zeroed in on corrupt educators, the Pakistani collaborators, defiled intellectuals, Pirs (religious leaders with considerable followers) as the conduit of the Leviathan to practise its oppression.

Director Momotazuddin Ahmed's political satire follows the European technique. The introductory choreography represents the enslavement of the citizens by the politicians. However, more choreography could be incorporated in the play.

Jamil Ahmed's symbolical set design, containing stairs, is helpful for the characterisation. His light design is simple but effective.

With the exception of Afroza Banu, the senior artistes disappointed the viewers by their poor performance. The actors tended to fumble during dialogue delivery--a jarring note in the play.

Theatre practise in Bangladesh has become stagnant
Momotazuddin Ahmed
Renowned playwright Momotazuddin Ahmed is not pleased with the present scenario of theatre in Bangladesh. He says, 'I believe that for an artiste, art is the combination of his ideal, politics and approach to life. In the drama arena we are losing our strength, as everything is now becoming money orientated. As a result, the theatre practise in Bangladesh has become stagnant. Very few quality plays have been produced during last five years. Most big groups are either reproducing their old plays, or staging a popular one year after year. Moreover, due to the crisis of theatre hall, professionalism cannot be introduced in Bangladesh.

'Viewers always go after plays in which star performers are the main cast. Theatrical groups also do not like to take any risk by casting new artistes in big roles. Moreover, new comers prefer working in the electronic media where they can earn money. That is why, I think, theatre in Bangladesh is not developing at the same rate as it did in the early days,' Momotaz added.

Talking about his play Shat Ghater kanakori, Momotaz said, 'I wrote Shat Ghater Kanakori in 1989. In the play I have used Ershad, the then autocrat ruler, as the symbol of the leviathan ruler. While writing Shat Ghater Kanakori I was influenced by the famous plays in Bangla literature like Neel Darpan, Jamider Darpan and Nabanna. In the play I have tried to depict that there may be changes in rulers in Bangladesh, but the ruling system remains the same. The play has been well received by the audience.'

Ershad Kamol