By Jaya Krishna das, Director of the Bhaktivedanta Players (1985 – 2025+):
(photos taken from the drama archives)
The Bhaktivedanta Players have been a beacon of Krishna conscious cultural awareness in the UK since their founding in 1977. They’ve performed not only across Britain but internationally too. My journey with the troupe began at thirteen, when my brothers and I were asked to play monkeys in a Ramayana production at Bhaktivedanta Manor. That moment sparked a lifelong passion for drama, transforming it into a spiritual practice and an offering of love to Lord Krishna.
Over the years, I immersed myself in the craft, eventually becoming a leader of the group in 1985 alongside Dwarka Puri Dasa. Together, we helped the troupe grow into one of ISKCON’s most respected drama groups. Touring with the Players has taken us to the USA, Europe, Africa, Mauritius, India, and the holy dhamas—Mayapur and Vrindavana. But beyond the travel, the real reward has always been witnessing the transformative impact of our performances on audiences.
I remember one particularly emotional moment when a man came backstage in tears after watching the Ramayana. It was his first exposure to Vedic pastimes, and the story had deeply moved him. Experiences like that have reminded me why we do this.
Another unforgettable moment happened during a UK school tour. Just before performing for over a thousand children, we learned that part of our cast wouldn’t make it—their car had broken down. I panicked at first and almost cancelled. But seeing the eager faces of the students in the hallway, I knew we couldn’t disappoint them. I rushed back, told the cast to improvise, and somehow, the show went on. The audience never noticed anything was missing. I truly felt Krishna’s hand guiding us that day.
We’ve had our share of technical hiccups too. During one Ramayana performance, the soundtrack failed. But the cast adjusted so seamlessly that the audience applauded our quick thinking. At another show with 700 children, a sudden power cut plunged us into silence. For a moment, everyone froze. But our familiarity with the script kicked in, and we carried on without the audio. The audience roared with joy by the end—it was one of our most memorable shows.
Another highlight was a performance in Delhi for ten thousand people. At the end, the crowd gave us a standing ovation and called for an encore. And at a UK outdoor event, our biggest audience yet—twenty thousand—watched us perform. Yet, some of my favourite experiences have been with smaller, more intimate productions, like our two-person play on Bilvamangala Thakur. His journey from temptation to devotion moved audiences deeply, as it did us.
Our plays are often among the top-rated events at festivals, perhaps because they blend spiritual learning with emotion and entertainment. Srila Prabhupada once remarked, after watching a play by his disciples, that it was even more effective than reading his books.
One especially proud moment was during the UK’s new millennium celebrations. We staged a two-and-a-half-hour Ramayana, which playwright Tamal Krishna Goswami attended. Backstage, he praised the emotional range of our performance and the sense of fulfilment it gave. He said the English devotees had a unique gift for impactful drama and reminded us of Prabhupada’s vision: that drama would play a key role in the cultural revival of the UK.
Today, our troupe owns a rich collection of costumes and scripts, often borrowed by other drama groups. It’s been a blessed journey—full of challenges, inspiration, and moments of deep connection. Through drama, we’ve shared Krishna consciousness with countless hearts, and I hope to continue doing so for many years to come.
