Through Ronayi Gaan the troupe narrated the myth of Behula-Lakhindar composed by Bijay Gupta some 600 years ago. The USP of Royani Gaan presented by the troupe was that the choir narrated the whole myth in a circular movement centering a square small space while the audience occupied the four sides. This was the first time women actors performed in the festival. The lead singer, Shubhashini Bikram, with three other women singers presented the myth through music, dance, recitation and drama. Four male instrumentalists played indigenous instruments such as kartal, harmonium and bansi. And another male performer participated in the chorus. The tune of the music is highly influenced by kirtan. Sometimes the choir presented songs with rhythm and sometimes without. But the main attraction of the show was the incorporation of aesthetic sentiment during presentation by the lead singer Shubhashini.

As per the tradition the show began with Bandana. It was followed by an episode where the reason behind composing Padmapurana by Bijay Gupta was narrated. Till the marriage scene of Behula-Lakhindar in Padmapu-rana-- Swapno Bari, Manoshar Janmo, Manoshar Bibaho, Manoshar Banobash, Rakahl Barir Puja, Chander Baad, Chhoy Kumar Bodh, Chander Durabosha and Lakhindarer Janmo-- the performance was basically dance, recitation and music oriented. In the marriage scene, one artiste enacted the role of Lakhindar and another female actor performed the role of Behula. Dramatic presentation was evident from this part on.

As the troupe stage Royani all night long in rural areas, time and space limitation were the major obstacles faced by the troupe. Consequently, they had to cut short the performance using the narrative technique.