[7] Tirupati Venkata Kavulu have dramatised several of the Hindu epics into dramas and plays consisting of singable verses set to perfect meter.

[4] He was called the "Nightingale of the Stage" by Rabindranath Tagore[13] Balijepalli Lakshmikantam was a dramatist remembered for the masterpiece Harischandra (Satya Harischandriyamu) written in 1924.

[16][17] Peesapati Narasimha Murty was trained under Kilambi Krishnamacharyulu in 1934 and started his acting career with Rangoon Rowdy in 1938.

He won the prize as best Sri Krishna in the "Akhilandhra Pandava Udyoga Vijayalu" competitions held in 1949 at Guntur.

[7] Sthanam Narasimha Rao was well known for playing stunning female characters and was a recipient of a Padma Sri Award.

Equally enchanting performances in Roshanara, Deva Devi in Vipranarayana and the eponymous Chintamani made his place in Telugu theater permanent.

[22][23] Aatreya's works on social reform, transformation and universal peace, include his 10 Natakams (plays) and 15 Natikas,[24][25] which include Bhayam ("Fear"), Viswa Shanti ("Universal Peace"), Kappalu ("Frogs"), Goutama Buddha, Ashoka Samrat, Parivartanam, Edureeta and Tirupati.

[29][30][31] His body of work includes The Imaginary Invalid,[32] Fiddler on the Roof,[33] Purushotham, Wait Until Dark,[34] The Last Wish Baby.

[35] Reddy conducts theatre workshops which run full,[36] produces and directs plays for both Samahaara and institutions like schools, colleges, corporates and others.

With his performances and his flair for the art, he has touched the hearts of hundreds and can be termed as a person largely responsible for what can only be called as a 'theatre revolution' in the city visible in the last few years.

[42] The group Samahaara under the guidance of Rathna Shekar Reddy is credited with making theatre popular and involving the young crowd in Hyderabad.

The Festival has been instrumental in bringing together the various amateur and professional theatre groups in Hyderabad and improving the quality and scale of the plays.

[7][13][14] [15][18][19] As it is started from the Padya Natakam, The people of Telugu Theatre used to render the poems for a long time.

[19][21] After staging the play vyvahara Dharma Bhodhini of veereselingam in 1890, the scenario of Telugu theatre has changed.

These Parishid plays have taken place for the improvements in Telugu theatre and lead to a realistic movement rather than the normal epic stories happened before that time.

As against the existing tradition of musical plays i.e. padya natakam, it pleaded for socially relevant theatre.

To achieve this, it held annual competitions regarded as a touch stone of artistic excellence, insisting that only social or one-act drama within the previous five years was eligible to participate and that women should enact female roles.