Left to right: Bhakta Degg as Lord Hanuman, Sri Nrsimha Kavacha Das as Lord Rama, and Dhrstadyumna Dasa as Lakshman in the Kalachandji Players’ production of The Ramayan.

Over 500 devotees gathered at ISKCON Dallas this spring to witness two sold-out performances of a new Nrsimha drama written, directed, and staged by a team of second-generation devotees. Known as the Kalachandji Players, this group is leading a grassroots revival of Krishna conscious theater—one that’s drawing standing-room-only crowds and inspiring a new generation of Vaishnava artists.

Reigniting Devotional Arts


The recent production of Nrsimhadeva marks the second major offering by the Players, following their acclaimed staging of The Ramayana in fall 2024. That show also played to packed halls over two nights. Both plays were entirely self-funded and featured high production values and complex themes, but Nrsimhadeva is an original script written by Sri Nrsimha Kavacha Das.

This spring’s Nrsimha drama involved 56 actors—38 of them children—and offered a fresh take on a well-known story. The remaining cast, like the creative team itself, consisted of devotees in their 20s and 30s—making this a production led by youth in every sense. “I want the audience to walk away feeling like they were transported to another time and place,” Sri Nrsimha Kavacha said. “And when they walk out, I want them to love the Lord and hanker for more of His stories.”

A Family of Artists


The creative force behind the Kalachandji Players is a family of four siblings, all born and raised in Dallas, alumni of the Gurukula, and initiated devotees. They include the playwright, lead actor, and the performer behind Hiranyakashipu —Sri Nrsimha Kavacha, director and actor Draupadi Devi Dasi, stage manager Gopi Krishna Devi Dasi, and costume director and actor Dhrstadyumna Das.

“It’s a wonderful pastime,” Sri Nrsimha Kavacha said. “It’s a passion project that we can do together. We all have our strengths and weaknesses, and sometimes there are creative differences—but that just shows our passion.”

Their mother, Laxmi Priya Devi Dasi, also plays a vital backstage role, assisting with makeup, dressing actors, and filling in wherever needed.

“Working with my siblings, we all play to our strengths,” Dhrstadyumna said. “My twin sister Draupadi is an organizer—she keeps rehearsals on track. Sri Nrsimha Kavacha is the creative mind behind the scripts and music. I’m an artist, so I focus on props and costumes. And our sister Gopi Krishna manages the chaos backstage.”

“As stage manager, I just tried to keep up with the fast pace of the drama and all the prop changes,” said Gopi Krishna. “Thankfully, every actor was invested in making it a success. The audience’s response gave me the strength to push through and improve for the second night. We do this for them—they give us the energy to pull it off.”

Forgotten Figures, Reimagined


One of the most distinctive features of the Nṛsiṃhadeva play was its treatment of female characters, often sidelined in traditional retellings. Both Kayadhu, Prahlad’s mother, and Holika, the demoness aunt, were given depth and nuance.

“I got the idea of their character dynamic from the 1972 film Hari Darshan,” said Sri Nrsimha Kavacha. “Kayadhu brought out Hiranyakashipu’s better nature, while Holika fueled his worst instincts. That tension made them memorable foils.”

Sri Nrsimha Kavacha added philosophical depth by giving Kayadhu questions originally posed by Maharaj Parikshit in the श्रीमद् भागवतम्, transforming her from a silent figure into a seeker. “It allowed us to explore philosophy through character, and it gave our talented actresses real roles to embody,” he said.

“I especially appreciated the more central role Kayadhu played in this production,” said one audience member. “We often only see her while Prahlad is within her womb, then she disappears into the background. Here we got to experience her motherly love, fighting against her violent husband to protect her young and innocent child. It added a relevant dimension and increased the audience’s feelings for Prahlad’s protection in light of his father’s envious cruelty.”

Bhakti Meets Craftsmanship


Dhrstadyumna, who also acted in both productions, oversaw costume and prop creation. “I tried to follow what I had seen in Srila Prabhupada’s books—the paintings were my inspiration,” he said. “This year, I experimented with resin and clay molds, which let me produce high-quality crowns, discs, and earrings efficiently.”

The brothers’ commitment to detail and authenticity elevated the entire experience. “For our community to experience the pages of the Bhagavatam like this is a wonderful meditation,” Dhrstadyumna added. “It also keeps us all engaged in service.”

A Training Ground for the Next Generation


More than half the cast was under 18. For many of these children, it was their first time acting—and their first time deeply engaging with Krishna’s pastimes outside of the classroom.

“My little hope and prayer is that the children build impressions of the pastimes, make friends, and feel connected to the community,” said Draupadi. “Some of my deepest memories of Krishna consciousness come from dramas I did as a child. I want to create that same environment for the next generation.”

“Putting these dramas together really unified our youth,” Dhrstadyumna added. “These experiences will stay with the children forever and continue to inspire us older youth.”

“This was truly a community production, with so many participants, from four-year-olds to thirty-year-olds,” said one audience member. “These reenactments of the Lord’s pastimes bring us all together in remembering Him, with impressions that last for years! It is especially beneficial for our young Vaishnavas, who immerse themselves in the play—either as actors or audience.”

What’s Next for the Kalachandji Players?


Draupadi said the team hopes to eventually stage dramas year-round, tying productions to festivals like Gaura Purnima, Janmashtami, and Gita Jayanti. “Whatever my brother feels inspired to write next is my next step in putting it on stage.”

Sri Nrsimha Kavacha has no shortage of ideas. “Everyone wants to see Mahabharata, but that’s going to take time and preparation to do it justice,” he said. “Another choice is Krishna’s birth and childhood in Vrindavan, ending with the defeat of Kamsa. I also want to tell Parashurama’s story—he’s a complex figure few people know.”

As director, Draupadi stepped into the role unexpectedly when the original Ramayana director fell behind. “I saw how excited my brother was to play Lord Rama, and I couldn’t let that opportunity slip away from him,” she said. “So I started organizing rehearsals. Eventually, I just took over the role. I learned everything on the go—and I’m still learning.”

She added, “We’re blessed to work as a family. We push each other, balance each other, and show up for each other. I wouldn’t want to do this any other way.”

More Than Entertainment


Though their work is artistic, the Kalachandji Players aren’t aiming for spectacle alone. “I try to avoid being preachy,” said Sri Nrsimha Kavacha. “The Ramayana moved me so deeply because it simply told the story—through action, dialogue, and decisions. That’s what I want our audience to experience.”

“I want the audience to feel like they were just in that pastime,” Draupadi added. “To connect with the story and the characters, no matter how familiar they are with it.”

With hundreds in attendance, dozens of youth participating, and new plays already in development, it’s clear this isn’t just a fleeting moment of creativity—it’s a movement.

And if the past year is any indication, Dallas is ready for more.

Watch the Kalachandji Players’ Ramayana production on YouTube यहाँ. Their Nrsimhadeva drama will be available soon.