Rahul Bhuchar on the Soul of Humare Ram

Ashutosh Rana is playing Ram in Humare Ram ‘against Ravan. As both actor and producer, how do you balance the divinity of Ram on the stage while discussing the practicality of the execution of production on stage?

Look, the truth is that I’m not trying to describe Ram. If I tried, it would be very difficult. For me, this game was born from Bhakti and Sadhana. It has been with me for more than five years, and when you walk with devotion to the Supreme, the rest is sitting.

Of course, production is difficult – no deny it. But again, when your Bhakti is pure, things begin to align. I take a step every time. There is no formula to manage art and business together. If it were, everyone would follow him. The only guiding power is my Samarpan, Prabhu Shri Ram.

Today, the game went beyond India – staged in Dubai, going back to London, Singapore and Dubai in March in November 2025. But to be honest, the word ‘global’ does not excite me. An empty house doesn’t upset me either. Because we have never done ‘Humare Ram’ with an agenda or motive. He was always supreme and about the respect it deserved. Therefore, even after about 300 demonstrations, we make a Ram Stuti Puja before each performance. It starts for us.

Most of your games are staged in prestigious places. What was the most unexpected mass response you bought?

Every place is the same for us – Rashtrapati Bhavan, Parliament Building, Haydarabad’s Shilpakala Vedika or elsewhere. Each show is performed with the same energy, the same posture, the same commitment.

But the most overwhelming answer came from Bangalore. People told me that Hindi games didn’t work there, and mine was pure Hindi – Shuddh Hindi. Nevertheless, I believed that Katha should be shared everywhere. Surprisingly, the reaction was extraordinary. The audience would not even allow us to finish the dialogue due to applause and cheers between the ages of 15 and 40. It was so crushing that we had to add eight more shows there, and even now it’s not enough on weekends – so we’re doing weekday shows.

Delhi and Mumbai, of course, hosted the maximum number of shows – 128 in Delhi and 69 in Mumbai. But if you ask me about pure energy and reactions, Bangalore was unique.

With Sridevi, you worked with ‘mother’ and now you are doing epics like ‘Mahabharata’ and ‘Humare Ram’ on the stage. He tested more of the camera or your craft with a lively audience?

There is no difference to me. It is never related to the camera or stage – it is about surrendering to the character. And I never call it mythology. I call it history, because there is evidence, research and proof of these epics and figures.

It is not acting when I play RAM or play any divine character. Samarpan. The Lord enters me for these shows, and when a run is finished in a city, it takes time for me to get out of it. I don’t even want to leave, but life outside the scene demands it. Then I prepare myself again, call it back and surrender once again.

Therefore, the masses are connected. Because if you’re just acting, people can see it. But if it is bhakti, it echo at a divine level.

You moved in more than 725 shows and produced some of India’s most successful games. What do you see as your biggest contribution to Indian Theater?

If you ask me on a line, the contribution of Felicity Theater is that we trust the theater. For centuries, theater was dependent on kings, governments and institutional sponsorships. We broke this pattern.

Today, we do more than 300 demonstrations a year without a single grant. The theater has become a self -sufficient economy. Players no longer have to work in offices and play on weekends. They can proudly say, “I am a professional theater actor ve and they can make a living from him. This is the biggest change for me.

How did Ashutosh work with Rana ‘Humare Ram?

Ashutosh Ji is not from this planet. Probably someone who has given birth every thousand years. Spiritual, devoted, full of wisdom, deeply rooted in Puranas and Vedas.

On the stage, body language, expression, pronunciation – everything is divine. When we decide on something, we all follow, because his way is the right way. This is the level of respect for the command.

With the more attracted to the OTT platforms, the audience see how the theater develops in the next decade?

When you try hard to stay relevant, you will never be relevant. My experience more than twenty years, if you offer something honest – a strong participation, real performances and production that does not compromise – says the future of people.

Theater does not compete with ott or cinema. ‘Look at Humare Ram. People are fighting to buy tickets, like a Bachchan film in the 80s, there is chaos outside the auditorium. From where? Because the agenda is made without compromise.

The play has become what people call the theater ‘Bahubali’ or ‘Sholay’. Today there are two people – those who watch ‘Humare Ram and those who are looking forward to watching. This is the effect.

And this is not just this game. Every Felicity Production works for packaged houses. This means that something goes right. If this inspires other producers to enter the theater, so. We need thousands of good games. A Rahul Bhucar can’t do it all. If this is a revolution for this theater, then welcome.