Ravindran Drama Group

Ravindran Drama Group (RDG) was established in 1988 by young theatre enthusiasts committed to preserving and promoting Singapore’s Tamil theatre heritage. Originally named the Youth Drama Group, it was later renamed to honour the memory of founding member G. Ravindran, whose vision and dedication inspired the whole group. In its formative years, RDG functioned as a non-profit collective, staging socially relevant productions that explored contemporary issues faced by Singapore’s Tamil community. The group viewed theatre not merely as performance art, but as a vehicle for education, social critique, and cultural empathy. RDG distinguished itself by positioning Tamil theatre within the broader Singaporean context, believing that theatre must evolve in tandem with society to remain relevant.

By the 1990s, RDG emerged as part of a new wave of Tamil theatre that challenged traditional norms. It used black box theatres and told stories that were introspective and socially grounded. It also ventured into cross-cultural adaptations, translating Western classics into the Tamil language. The group staged Macbeth in 2000 and 2001, followed by Vanthavan Yaar (2004), a Tamil adaptation of J.B. Priestley’s An Inspector Calls. These productions reflected a creative fusion of global literature with local cultural sensibilities, engaging a bilingual, bicultural generation of emerging theatre-makers. After more than two decades as a volunteer-run troupe, RDG pivoted toward professionalisation in 2011, incorporating it as a private limited company. It aimed to expand its reach beyond the Indian community to cultivate a broader, multi-ethnic audience. This transformation included initiatives such as providing English subtitles, fostering intercultural collaborations, and welcoming non-Tamil creatives into its productions. With RDG’s transformation into a professional theatre company, it staged a number of plays that together made a major impact on the Tamil theatre scene.  These include The Pandavas, Taj Mahal, Thondan, and Murasu, which was based on Tamil Murasu founder G Sarangapany. 

A signature initiative was Pathey Nimidam, launched in 2013—a short-play festival that encouraged even non-Tamil theatre groups to stage 10-minute plays in Tamil. Such programmes significantly enhanced accessibility and appreciation of Tamil theatre among diverse audiences, helping to bridge linguistic and cultural divides. RDG’s journey was one of continual evolution—from a youth collective in the 1980s to a cornerstone of Singapore’s Tamil theatre landscape. Even though the group ceased operations in the late 2010s, its legacy endures. Through its alumni, archival works, and enduring influence, RDG remains a landmark in Singapore’s arts history, demonstrating how language, community, and storytelling can shape cultural identity and foster cross-cultural understanding.



For More Information
https://eresources.nlb.gov.sg/newspapers/digitised/article/straitstimes19951222-1.2.100.9
https://eresources.nlb.gov.sg/newspapers/digitised/article/straitstimes19970725-1.2.91.28.8
https://eresources.nlb.gov.sg/newspapers/digitised/article/straitstimes19970717-1.2.80.4.7
https://www.centre42.sg/archive/writings/12921/tamil-theatre-in-singapore/
https://arangam.wordpress.com/
https://theatrememories.wordpress.com/2015/02/18/t-nakulan/#:~:text=their%2020,translation%20of%20the%20popular%20English

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The information in this article is valid as of August 2025 and correct as far as we are able to ascertain from our sources. It is not intended to be an exhaustive or complete history of the subject. If you have any feedback on this article, please submit here.