The man who became one of India’s greatest stage queens

In mid-20th century Bengal, a unique theatrical tradition saw men rise to fame playing female roles. One of the most celebrated among them was Chapal Bhaduri, famously known as Chapal Rani, the “queen” of jatra a popular rural theatre form rich in music, mythology, and melodrama.

At a time when women rarely performed on stage, male actors called purush ranis portrayed female characters with remarkable depth. Bhaduri, born in 1939 in Kolkata to actress Prabha Devi, began acting as a teenager and became renowned for his graceful, immersive portrayals of queens, courtesans, and goddesses. His performances stood out for their sincerity, avoiding the mockery often associated with gender-nonconforming roles.

However, as more women entered theatre in the 1960s and 70s, audiences began rejecting male actors in female roles. Bhaduri’s career declined, and like many of his peers, he faced hardship, surviving through odd jobs and occasional performances.

Despite personal struggles and a complex private life where he avoided labels around sexuality Bhaduri remained unapologetic about love and identity. His long-term relationship lasted decades, even though it existed on the margins of social acceptance.

Interest in his life resurfaced later through works by Sandip Roy and filmmaker Kaushik Ganguly, as well as earlier documentation by Naveen Kishore. Today, some view him as a queer pioneer, though he himself resisted such categorization.

Now living in a retirement home, Bhaduri represents a fading cultural era. His story highlights not only the fluidity of gender in performance traditions like jatra, but also raises broader questions about memory, recognition, and why certain artists and art forms are forgotten.