“Tikhat Mirchi Ghatawarchi” as the name suggests is a ‘Loknatya’. A folk play in Marathi. Predominantly a Marathi loknatya is based on the popular folk form of ‘Tamasha’, which combines drama with the dance form launi. “Tikhat Mirchi Ghatawarchi” attempts to inculcate all of this while also trying to modernize the entire form. Loknatya comprises of ‘Gan’, ‘Gawalan’, Batawan’ & ‘Vag’. Gan which is an invocation to the lord Ganesh leads the way to the Gaulan, which is a short interjection between lord Krishna & the milk maids of Gokul. In “Tikhat Mirchi Ghatawarchi” we try a different set up where Krishna’s archenemy ‘Kansa’ also figures in the gwalan. The actual song & dance in the gawalan also has a modern touch. The batwani where satirical comentary on the socio-political situation prevalent in the society. The Vag which is the major part of the loknatya comprises of the story & drama. “Tikhat Mirchi Ghatawarchi” has a story of Ai Faujdar who is happily married but does not have children. He & his two hawaldars shut down a tamasha during the Kumbha Mela. The faujdar falls in love with the heroine of the Tamasha. On the insistence of the hawaldars he decides to finally marry her & make her his second wife. All hell breaks lose as the faujdars brother in law, a lawyer & his father in law, the commissioner of police take him to task. A minister Gulabrao declares the heroine Rambha tobe his daughter so all have to accept her as the faujdars wife. This leads to a war between Rambha and the faujdars first wife Savitri. An irate faujdars runs away from home tired of the constant fighting. The two wives finally decide to forget their fight & co-exist. They ask the hawaldars to find their husband. Rambha becomes pregnant. Do the hawaldars find the faujdar? Does Savitri accept Rambha and her child? What do the others do to accept the situation? This form “Tikhat Mirchi Ghatawarchi”