Hyderabad designer Ganesh Nallari’s ‘Shikhandi’ bats for gender sensitivity

Hyderabad designer Ganesh Nallari’s ‘Shikhandi’, turns to Mahabharata, to narrate a story of gender sensitivity

“To be queer is not an accident; it is by design. God created queer people. I wanted the audience to understand this, rather than judge or comment on a person’s gender,” says Hyderabad-based fashion designer and theatre artist Ganesh Nallari. He recently directed and produced Shikhandi, a 12-minute play inspired by the character from the Mahabharata.

Ahead of World Theatre Day (March 27), Ganesh highlights how society has long ignored gender dysphoria and identity politics, whereas the Mahabharata addressed them with nuance. “Shikhandi was born to challenge toxic masculinity, elevating not just women but also transgender individuals — from being seen as mere commodities to people with purpose. Shikhandi is a karana janma, a life with intent.”

In the Mahabharata, Shikhandi is a reincarnation of Princess Amba, who was abducted by Bhishma. Reborn as Drupada’s daughter, Shikhandini, she undergoes a sex change, fights in the Kurukshetra war, and plays a pivotal role in Bhishma’s downfall.

A trained Kuchipudi dancer, Ganesh debuted in theatre in 2012 with Mudra - the silent gesture, a deeply personal ‘coming out’ story. Since then, his occasional theatre ventures have often explored queer themes.

Shikhandi, a lesser-known character in the epic, had long intrigued Ganesh. “I wanted to train as a theatre writer and director before taking on this story. When a contest opportunity arose (Skits by Dramanon Hyderabad), I was ready.” The challenge? The play had to be under 12 minutes. “Condensing such a complex story was tough,” he admits.

Ganesh read extensively and referred to Devdutt Pattanaik’s Shikhandi: And Other Tales They Don’t Tell You, admiring its clarity. To introduce younger audiences unfamiliar with Shikhandi’s story, he structured the play with an opening discussion on gender, referencing Shiva-Shakti and Vishnu-Mohini. “The line ‘I am he, him, and everything in between’ sets the stage before we explore Amba’s past life, death, rebirth, self-respect, and revenge,” he explains.

Ganesh focused on making the writing accessible. “In Telugu or Sanskrit plays, you can weave in shlokas and take a different approach. But for a short English play, the language had to be simple, bold, and relatable.”