Abstract
Rangoon circa 1900 was known as ‘one of the best show towns in the East’. As the capital city of Burma, then ruled from Calcutta as a province of India, it was home to more Indian nationals than Burmese. In this cosmopolitan context, two vernacular arts complexes — the Parsi theatre of India and the popularzat-pweof Burma — flourished, competed, and converged. This article documents the 55-year long engagement of Parsi theatre in Burma within the larger history of global theatrical flows in the Indian Ocean. It highlights the story of Dosabhai Hathiram, a theatre man who rooted himself in Rangoon his entire life. And it asks, why was Parsi theatre celebrated elsewhere in Southeast Asia as a vector of modernity, and yet in Burma it left scarcely a trace behind?
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