Samar Chattyapadhyaya has dramatised Tagore's short story. For professional reasons, the protagonist of Khudhito Pashan goes near Barich 'Prashad' (palace), which was used by King Shah Mahmud the second for his entertainment with his courtesans. There in his surrealism, the protagonist hears the wailing of the souls of courtesans.

"The surrealism of the character Nayok in Khudhito Pashan delineates the tragic reality that prevailed in the lavish palaces of the kings. They exploited women for their pleasure, but none of them could understand women," director of the play Khaled Khan said, adding, "The oppression of women is still a common phenomenon. Tagore's short story will continue to appeal as long as such oppression continues."

On his directorial approach, Khan said, "The transformation of realism to surrealism and vice-versa, is the key factor in Khudhito Pashan. I have put tremendous effort into handling the transformation. As the play deals with courtesans, I have used elements of Kathak dance and North Indian ragas throughout the play."

Set designer Enamul Kabir Nirjhar has used a stylish replica of a palace, in which the ambience was created by appropriate light effects.