Divya Mangwani

Divya Mangwani

Divya Mangwani is a theatre artist, writer, director and dancer from Pune, India, now based in New York. She creates theatrical reimaginings that question our perception of narrative truths, global belonging, and shared mythologies.

As the granddaughter of Sindhi refugees, Divya has grown up listening to stories of the Partition of India. As a nomad, she has lived in four different countries in...
Divya Mangwani is a theatre artist, writer, director and dancer from Pune, India, now based in New York. She creates theatrical reimaginings that question our perception of narrative truths, global belonging, and shared mythologies.

As the granddaughter of Sindhi refugees, Divya has grown up listening to stories of the Partition of India. As a nomad, she has lived in four different countries in three continents over ten years. Home and belonging are at the forefront of all her work.

Divya was the founder and Artistic Director of Moonbeam Factory Theatre (MFT) where she wrote, directed, and produced plays that were staged in India, Singapore and the UK. MFT was the first of its kind in Pune focusing on original productions as well as championing community building and education through theatre.

In New York, Divya has developed work with UNICEF, Soho Rep, New York Theatre Workshop, Rattlestick Playwrights Theatre, Bushwick Starr, The Civilians, Gingold Theatrical Group, Mabou Mines, Hypokrit Theatre, The Flea, Astoria Performing Arts Center, Project Y, Pipeline Theatre, Rising Sun, LMCC and Governors Island.

Selected work: Elements of Change (UN Climate Change Week and NYC schools), Speak American (Soho Rep Writer-Director Lab), Yes, Uncle (finalist, Leah Ryan Prize), and One, Two, Three (winner of best script, director, play and audience vote, Short+Sweet Festival).

Divya is currently part of the Civilians R&D Group and the New Georges Jam. She was a recent fellow of the Soho Rep Writer/Director Lab and the Gingold Theatrical Group Speakers Corner and was a NYTW 2050 Artistic Fellow, Hypokrit Theatre Tamasha playwright, Project Y Writers Group playwright and Playlab fellow at Pipeline Theatre.

Divya has also worked as a journalist and editor for publications like The Times of India, ESPN, Crisis Response Journal, Daily News & Analysis and Janus Education. As an arts educator, she has developed work and directed productions at various schools, as well as conducted theatre workshops supported by global organizations like The Pune International Literary Festival and the US Department of State.
MFA: Tisch, NYU.

Plays

  • Vigil-Auntys
    Smita Aunty's superpower is eavesdropping. Shakti Aunty can commune with the heavens. And Saloni Aunty? She's rich.

    Together they form the 'Vigil Auntys' - vigilante auntys from Tripathi Lane that have taken an oath to protect young girls from the perils of life (the deadly combo of boys and sex!)

    Vigil-Auntys examines the legacy of sexual repression,...
    Smita Aunty's superpower is eavesdropping. Shakti Aunty can commune with the heavens. And Saloni Aunty? She's rich.

    Together they form the 'Vigil Auntys' - vigilante auntys from Tripathi Lane that have taken an oath to protect young girls from the perils of life (the deadly combo of boys and sex!)

    Vigil-Auntys examines the legacy of sexual repression, patriarchy and queerness that is kept secret in South Asian societies.
  • The Nation Needs to Know
    Ronit Raja is the nation's only voice. The Nation needs to know - and he will tell you. At a time when the press is muzzled, his radio show gives you the news straight from the government. And now he's trying his hand at directing but the actors are testing his limits. What does the Nation need to know about Ronit Raja?

    Set during the Emergency of India in 1975, the play examines the 3...
    Ronit Raja is the nation's only voice. The Nation needs to know - and he will tell you. At a time when the press is muzzled, his radio show gives you the news straight from the government. And now he's trying his hand at directing but the actors are testing his limits. What does the Nation need to know about Ronit Raja?

    Set during the Emergency of India in 1975, the play examines the 3 C's that destabilize countries - Censorship, Capitalism, Colonialism - as well as the hidden desires inside us all.
  • Yes, Uncle
    'Yes, Uncle' follows newlywed Lalitha and her husband, who is also her uncle, as they navigate through the social constraints of marriage.
    12-year-old Lalitha must leave behind her childhood to realize what it means to be a woman in India.

    'Yes Uncle' is a supernatural coming-of-age story.
  • The Djinn
    In Kashmir, under lockdown and insurgent strife, Sana and Binish are waiting.
    Binish is waiting for her son. Sana is waiting for her husband.
    Waiting. Hoping.
    Then the djinn appears.
    And Sana stops waiting.
  • Rise of the River
    The river Indus, the heartbeat of civilization in Sindh, disappears.
    Sohni, the daughter of the river, falls in love on the eve of her wedding – with another man.
    The once revered God Jhulelal desperately tries to keep the Hindus, Muslims and Sikhs united.
    Sir Richard Francis Burton of the East India Company potters around making observations and notes for his new book.
    As Sindh...
    The river Indus, the heartbeat of civilization in Sindh, disappears.
    Sohni, the daughter of the river, falls in love on the eve of her wedding – with another man.
    The once revered God Jhulelal desperately tries to keep the Hindus, Muslims and Sikhs united.
    Sir Richard Francis Burton of the East India Company potters around making observations and notes for his new book.
    As Sindh erupts in chaos, the lowly but delicious Hilsa fish may be the only one who can save them all.

    'Rise of the River' is a nautanki (Indian street theatre) stylized immersive ensemble drama.