INTERVIEW | Vikranth Pawar On His Supernatural Thriller Ankahi, Revisiting Classic Theater Tools And More

Susan Hill's gothic horror novel The Woman in Black was first adapted for the stage by Stephen Mallatratt in 1987. Since then, it has been staged globally and adapted for audiences in various languages and countries. The two-actor play holds the record for the longest-running production, 33 years, in London's West End. And now, The Woman in Black is coming to India.

Titled as Ankahi, the Hindi adaptation is premiering in Delhi at Kamani Auditorium on March 28 and 29, 2026. The production marks Aadyam Theatre's first venture into the supernatural thriller genre. At the helm of Ankahi is Vikranth Pawar, known for bringing the spectacle of Broadway-style musical to India for the first time with Beauty and the Beast and also intriguing the OTT audience with Dahan: Raakan ka Rahasya. With Ankahi, he steps into darker territory.

Gopal Datt as Sandeepan Chauhan in Ankahi (Photo: Special arrangement)

Ankahi revolves around middle-aged lawyer Sandeepan Chauhan (Gopal Datt) and a young, skeptical actor (Rohit Chaudhary). Unable to find the words to unburden himself from a haunting secret from his past, Chauhan resorts to the young actor to turn his tryst with horror into a staged performance. The unfolding of events raises the question: Does facing our darkest truths guide us toward the light, or do they pull us even deeper into the darkness?

Pawar, who is also Creative Head at Disney India Live Entertainment, relies on stagecraft as much as he does on the audience's imagination. In conversation with ETV Bharat, he delves into reimagining a globally celebrated horror story for Indian theater and the challenges of staging fear live. Edited excerpts:

Ankahi is Aadyam Theatre’s first supernatural thriller. Do you feel added pressure being at the helm of it and for the Delhi opening night?

Pawar: I love Delhi! I have spent three wonderful years there during my stint at the Kingdom of Dreams. In fact, one of my journey’s milestones was directing shows like Jhumroo and Zangoora at this once prominent center of arts and entertainment. And so I feel I will always share a special bond with the Delhi audiences.

There is, and will always be, pressure to deliver a good show. But I am excited.

What risks are you taking in this play that you haven’t taken before as a director?

Pawar: I am not only directing this play, but I am also producing it. And that is always tougher. Not just that, supernatural thriller is a tough genre to crack altogether. But I am lucky to have the support of a very capable team. Collectively, they possess vast experience and are incredibly talented at creating unique, one-of-its-kind live theater entertainment for Indian audiences.

The Woman in Black has a very specific gothic mood. What did you consciously discard when adapting it into Ankahi for an Indian audience?

Pawar: The Woman in Black does have a gothic mood, with supernatural overtones. And I think there is an inherent sense of curiosity and an anticipation building into it. The audience is bound to expect plenty of twists and turns and thrills.

With Ankahi, we have only attempted to enhance this experience by adapting the story to an Indian setting. Likewise, the play is in the Hindi language. This definitely makes the show all the more relatable and creates a better connection with our audiences.

What was the first creative choice you made for the Hindi adaptation that significantly altered the original’s tone?

Pawar: The original tone is provenly brilliant, which is why it would have been counterproductive to change it. So we have definitely maintained that as is.

But to make the story more accessible and relatable with Indian audiences, we have used one of our own languages – Hindi – rather than English. The audience will not be disappointed because the story, in itself, is fantastic, and what we have done with Ankahi is quite remarkable.

Horror on stage leaves no room for technical rescue. What moment in this production challenged you the most as a director?

Pawar: More than horror, Ankahi is a paranormal thriller. To mount a genre like this on stage is a very complex task. Everything needs to be done from scratch. As a director, I have to create an atmosphere that invites the audience into the world I have created. So, every aspect – be it sets, sound, lights, music, or special effects – needs to work in sync for the story to smoothly transition into each act while keeping the thrill factor intact. But I am fortunate to work with a very skilled team of technicians who are striving to make this world-building more immersive.

What made Gopal Datt and Rohit Chaudhary the right duo to headline Ankahi?

Pawar: Both actors are exceptionally brilliant talents. Gopal Datt brings years of experience working in theater space. When I imagined Sandeepan, I wanted someone who could access his inner world and seep into the character’s skin effortlessly since the character demands that. And he fit perfectly.

Rohit Chaudhary plays a young, skeptical actor in Ankahi (Photo: Special arrangement)

For Rohit has an easy confidence and passion within him. He is instinctual and brings a great energy to the character of young actor in the play. He seemed to be the apt choice for the role.

From the looks of it, they seem to have eased into these characters, but their understanding of the craft and years of effort will truly reflect when you come and see them perform.

After directing a spectacle-driven musical like Beauty and the Beast, what did you have to unlearn to pull off a psychological thriller?

Pawar: Fantasy and thriller are two different worlds to envision and design. Each of them has unique challenges and demands. Beauty and the Beast is already popular and a much-loved magnum opus. With Ankahi, I had to be very meticulous in its world-building. Recontextualising the play into a relatable new world was definitely a difficult task. But with this play, I had the chance to revisit the joy of working with classic theater tools that are simple, yet create a huge impact when used well.

Are long gaps between your directorial ventures a conscious choice to wait for the right material?

Pawar: I have been dabbling with different storytelling mediums. Over the past few years, I have worked across the stage, OTT, ads, and experiential entertainment industry in various capacities. As a creative person, you have to strive to perfect your craft through constant evolution and experimentation. These gaps are not intentional. During these intervals and while working on several projects, I occupied myself in learning new skills in an attempt to tell the right story through the right medium. Each project challenges you differently, builds a whole new perspective, and fuels you with new motivation. As an artist, I feel that vigour is more fulfilling and important.