The Fire and The Rain’ is like reliving the age-old myth even as its multi-faceted characters, which transcend time, play out its inexorable end: …OF POWER Paravasu is the eldest son of the great sage Raibhya. For seven long years he has performed the mahayagya (fire sacrifice) to appease the gods and get rains for the drought-ridden land. He has forsaken his wife Vishakha, his brother – Arvasu and all worldly pursuits. His exalted position of Chief Priest of the sacrifice creates discord and animosity within his own family, from his father Raibhya to his cousin Yavakri. Yavakri, Paravasu’s arch-rival, returns home triumphant after ten years of meditation, armed with the boon of eternal knowledge bestowed upon him by the Lord Indra himself. The resentful Yavakri embarks upon a scheme for ultimate revenge at any cost. …OF LOVE Paravasu’s younger brother – Arvasu, is in love with a tribal girl – Nittilai, is all set to defy his upper caste Brahmin norms and marry her. But his Brahmin upbringing does not allow him to escape the manipulations of his brother – Paravasu, his cousin – Yavakri and his father – Raibhya. Unwittingly embroiled in their battle for supremacy, he is eventually forced to choose between love and duty. …OF LUST In a desperate attempt to assert his position, his dominance in the Brahmin community, Yavakri seduces Vishakha – his past lover and now Paravasu’s abandoned wife. Raibhya – Paravasu’s father, wreaks his own vengeance on Yavakri by unleashing upon him a demon the Brahmarakshas. …OF SACRIFICE The appearance of Lord Indra at the end is testament to Arvasu’s essential goodness and faith. His dialogue with the God leads him towards the path of duty and spiritual growth, through sacrifice. The purity of his love for Nittilai triumphs as the parched land is granted rain and its people salvation. Director’s Note Agni aur Barkha is complex play with several threads of the plot working at various labels of consciousness and bringing about transformation in the minds of audiences. The Sanskrit shlokas chanted in the yagna and the begining of the play was the scene I enjoyed most in making. Mantras from Rigveda were chosen and the proper style of the chanting was learned by the actors from Sanskrit pundits. Then we evolved suitable bodily movements to go with the ritualistic movements associated with the yagna. We spent considerable time is making it. This formed the core of the play production primarily influencing the making of other scenes. The game of love, lust and power forms the axis of then play. Drawing upon the traditional movements and gestures, we evolved a few scenes in stylised form and the rest of them realistic. Chhau dancers trained our actors to produce the Garba Natak, the play within the play, called “Indravijay” Vishakha emerged as the central character defining the moment of liberation of women from the clutches of the tradition. The hunter community girl, Nittilai’s pure and innocent love is at the centre of the plot bringing it to a complex end. The SRC Repertory actors evolved the play in a series of the improvisations. I am grateful to all of them.