For a city that prides itself on its growing multiplex culture, its existing multi-purpose venues are simply not enough. Hyderabad needs a dedicated, affordable space for theatre. There is no equivalent to Mumbai’s Prithvi Theater or Bengaluru’s Ranga Shankara – venues built just for theatre.

not enough opportunities

In Lingampally, a suburb of north-west Hyderabad, senior theater director Nasreen Ishaq is grappling with a difficult decision: scrapping the sets, props and costumes. “Maybe minimal, varied presentations would help,” she says.

The founder of Nibha Theater Ensemble and an alumnus of the National School of Drama (NSD), Nasreen is known for her large productions, which are staged every year with around 25 cast and crew. However, the cost has increased – from ₹70,000 in 2018 to ₹2 lakh in 2025, excluding voluntary artist fees. Rising expenses coupled with limited access to affordable auditoriums have left him exhausted.

A few months ago, another NSD graduate, Bhagyashree Tarke, had planned to stage Henrik Ibsen’s hedda gabler In the city. But the actors, who commute between Hyderabad and Mumbai, struggled to find affordable rehearsal space and available actors beyond day jobs in central locations. Eventually he shifted the production to Mumbai. “It’s expensive to stage a play there, but since everyone is involved in some way or the other, you still get to grow creatively,” she says.

Bhagyashree also notes a cultural difference. “In Mumbai, many film professionals remain associated with theatre. Even if they are not acting, they still come to watch plays. This is largely missing in Hyderabad and perhaps that is the saddest thing.” She says that in the Telugu industry, only a few, like veteran actor-playwright Thanikela Bharani and actor Jhansi, maintain a balance between films and theatre.

Ram Holagundi Photo Credit: Special Arrangement

Nasreen and Bhagyashree are not alone. Both established and amateur theater groups across the city face similar challenges. There are about ten multi-cultural venues in Hyderabad, including experimental venues, but each has its own limitations. Government-run auditoriums like Rabindra Bharati and Shilpakala Vedika, non-profit venues like Lamakan and Sri Thyagaraya Gana Sabha, and private venues like Rangbhoomi Space regularly host performances.

Staging of a play in Rangbhoomi space. Photo Credit: Special Arrangement

There are also small, intimate venues established by theater artists such as Ram Holagundi and Ratna Shekhar Reddy. Other options include the open-air auditorium at Taramati Baradari and indoor halls at Suravaram Pratap Reddy Telugu University, Telangana Saraswat Parishad, Bharatiya Vidya Bhavan at Himayath Nagar and the Phoenix Arena.

Yet, the city’s theater landscape is also marked by losses. Once thriving places like Hari Har Kala Bhavan and Indira Priyadarshini Auditorium in Nampally are now mere reminders of a more vibrant cultural past.

In search of stability

Jai Jha Photo Credit: Special Arrangement

Theater actor-director Jai Jha is also very angry now and has resigned. “I have been struggling for space for a long time,” he says. The initial interest of government officials in creating a dedicated theater space in Gachibowli or Hitech City never progressed beyond discussion. He adds, “Despite rapid development, there is not even a small permanent space for art and culture in western Hyderabad.”

Jai launched Rangbhoomi space in Gachibowli in 2020, but it closed after three years when the lease expired. It was reopened in Serilingampally in July 2024. “Amita Desai madam of Goethe Zentrum helped us start again,” he says. The tiled-roof space, which gets extremely hot in summer, still lacks basic amenities like toilets near the green room. The monthly expenditure is around Rs 1.3 lakh. Theater groups pay around ₹11,000 for a four-hour slot, while other programs charge more depending on the duration and ticket prices.

With around 20 plays per month, the venue also hosts photo shoots and YouTube productions to maintain the balance.

inclusive space

Vinay Verma Photo Credit: Special Arrangement

For 16 years, Lamakan, a non-profit cultural space in the heart of Banjara Hills, has been a cornerstone of Hyderabad’s arts scene. Widely regarded as an ‘OG’ venue, it remains an important stage for both emerging and established artists. Its discounted rates make it extremely popular, with bookings filling up three months in advance. Theater groups pay around ₹1,500 for a show priced at ₹100, although slots are largely restricted to weekends.

An open-air stage, without wings, suitable only for small presentations or monologues. It also brings with it some challenges – surrounding noise and the inevitable mosquito menace.

elite experience

A scene from the play ‘Paswala’. Photo Credit: Special Arrangement

A few kilometers away, Shilpakala Vedika in Madhapur offers a much more sophisticated, large-scale venue. But it costs a fortune – around ₹ 2 lakh plus GST for a weekend – making it out of the reach of most theater groups. Even spectators face a trade-off: either pay for front row seats or settle for a distant balcony view. The auditorium is designed for scale, not intimacy.

“To sustain theatre, it has to be made affordable,” says Vinay Verma of Sutradhar. As his group travels across India, the senior actor-director photographs locations to document how even small spaces can create intense experiences. “I share these with bureaucrats to show that a modest spot is enough, and it will be remembered for years.”

Fresh from performing at Shri Ram Lagoo Rang-Avakash, a black box theater in Pune, a versatile and flexible small theater setting, his team is impressed by the city’s thriving theater culture. “They have a dozen small venues booked months in advance. Here, we often don’t even get a technical rehearsal because the lights are only put up on the day of the show.”

Young artists from Nishumbita during a demonstration. Photo Credit: Special Arrangement

Amidst these challenges stands the city’s 64-year-old cultural center Ravindra Bharati. “It’s like my second home,” says Rammohan Holagundi of the Nishumbita School of Drama. Still, uncertainty looms. If a government event takes priority the performance may be canceled at short notice.

The venue, which hosts national theater festivals and sponsored events, also needs an urgent upgrade – better seating arrangements and better acoustics. “We are hesitant about refurbishing because it would halt cultural activities for several months,” says Enugu Narasimha Reddy, director of the language and culture department.

For now, a small step forward is in the works: a website to streamline online booking.

intimate setting

Ratna Shekhar Reddy Photo Credit: Special Arrangement

In the absence of adequate spaces, some practitioners have created their own spaces. Ram Holagundi and Rathna Shekhar Reddy of Samahara Theater Group have created the space to cater to various needs. Ram says, “We have seen steady growth in Hyderabad’s theater circuit, which has been a training ground for emerging talent. Some active groups are enthusiastically pursuing the art form here despite all odds. We need auditoriums, but we also need sponsors to take the art forward.”

Ratna Shekhar converted his rehearsal space into a studio for workshop presentations, while Ram Mohan converted the third floor of his house into a 100-seat intimate venue – free for struggling groups and a modest price of ₹5,000 for professional teams.

For Ratna, infrastructure and artists are deeply linked. He says, “Quality venues are essential for better performances, but working with new artistes can be challenging. Many see theater as a stepping stone to OTT and films.” “Without committed artists, it is difficult to stage repeat shows, impacting revenues and making larger productions difficult to sustain.”

Samahara Group actors stage a workshop production in their studio. Photo Credit: Special Arrangement

Lighting and set designer Surbhi Santosh, who hails from the prestigious Surbhi family, sees a similar connection between the audience and the locations. “Big auditoriums like Ravindra Bharati are ambitious, but they are becoming difficult to fill,” he says. For example, community-run theater—Marathi or Bengali—draws its own audiences. Others struggle. One of the 11 shows of his musical drama Petromax Panchayat Staged in Hyderabad, the audience was mostly friends and family. “People have to show up, whether to praise or criticize. Without this, quality cannot improve, nor will there be demand for better places.”

Vinay suggests re-imagining the existing infrastructure. “Places like Shilpakala Vedika can be converted into black box theaters because it is flexible, intimate and cost-effective,” he says. Jai proposes using community halls in residential areas to reduce commuting bottlenecks, while others point to unused government buildings and college spaces as viable alternatives. Meanwhile, Nasreen Ishaq hopes that members of the Telugu film industry will invest in theatre, just like Sanjana Kapoor has maintained Mumbai’s Prithvi Theatre.

As groups prepare for World Theater Day on March 27, 2026, the demand is clear: an affordable sustainable space that allows theater to survive and thrive