Music from the play Munshi Premchand's Kafan

Music: Shashwat Srivastava 
Lyrics: Mahmood Alam & Shashwat Srivastava
Vocals: Vaishali Chakravarty, Rashmi Sinha, Vishakha Chakravarty & Shashwat Srivastava

It is an original stage adaptation of Munshi Premchand’s last short story. Kafan is a dark comedy. In the play, Puppetry is being explored to depict the tussle between two classes and the plight of Budhia, who is caught in the crossfire. Bleakness of hope in the story and awfulness of the father-son duo find a delicate balance. At times the situations break into morbid humor. In the end a wine-house becomes the stage for Ghisu (Father) and Madhav's (Son) rebellious dance, defying not only the laws of the land but also that of the God.

Chatni - Munshi Premchand's Kafan OST

Khat Khat - Munshi Premchand's Kafan OST

Guluband  - Munshi Premchand's Kafan OST

Chulha - Munshi Premchand's Kafan OST

Sound track from the play 'The Leela Tapes'

Music Director: Shashwat Srivastava

About the play-
In the winter of 1980, Leela Mitra had her reasons to visit the Victoriaganj Central Jail on twenty occasions. This play is the transcript of her recorded dialogue with Adrian Pillai, an inmate. The Leela Tapes, as they deserve to be called, were accidentally discovered many years later in the shoe cabinet of a house on Mali Road, by its new tenants. The play is a suspenseful, psychological thriller, designed to keep the audience at the edge of their seats. The true-to-life, yet highly dramatic depiction of the realities of a small-town, Victoriaganj, in the north-eastern hills of India, promises to entertain, as well as compel audiences to do some serious introspection.
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The Leela Tapes Theme Heavy- OST The Leela Tapes

The Leela Tapes Theme- OST The Leela Tapes


Music from the play 'The Red Corridor'

Music Director (Laal Kranti): Shashwat Srivastava
Music Director (Ek Ghunt): Gajadhar Bharat
Lyrics: Rahul Chandra
Vocals: Shashwat Srivastava, Gajadhar Bharat

About the play-
Why must people move to metropolises from smaller towns? Is it a fad or a compulsion? A free adaptation of Anurag Kashyap's Main, the subject of this play draws a balanced parallel between the life and intentions of a gone-berserk naxalite and small-town aspirants at large with dreams of finding parity. On another plane, the play is a ‘Whodunnit’. It is about a murder committed in the broad daylight of a nation’s conscience. So who’s the killer, a naxalite or a small-town dream? The play, a winner of Sahitya Kala Parishad Samman 2009, makes an important political comment on the lopsided development in the country, leading to the widening chasm between the rich and the poor.
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