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Chapal Bhaduri was Bengal’s biggest stage queen - until women arrived and the spotlight moved on.
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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.
But even at its height, the form carried a certain stigma.
Colonial-era urban elites in Calcutta, influenced by European tastes, often dismissed jatra as rustic or unsophisticated. A 19th-Century Anglo-Indian journal derided the voices of boys playing women as "discordant", comparing them unfavourably to "howling jackals".
By the time Bhaduri entered the stage in the 1950s, that world was already shifting. Women had begun to take up acting roles. The space for female impersonators was narrowing. Still, Bhaduri stood out.
Born in 1939 in north Kolkata to stage actress Prabha Devi, Bhadhuri grew up around performers. He began acting at 16. "I had girlish manners, a girlish voice," he would later say.
On stage, he transformed. He played queens, courtesans, goddesses and brothel madams with a studied grace.
His costumes were carefully assembled and sometimes improvised. Early on, he used rags to shape the silhouette of his bosom. Later, he turned to sponge. His beauty routine included creams, small rituals in pursuit of an illusion he took ser
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