Mahesh Elkunchwar's plays are an attempt to constantly question the rigid rules set by society controlling various aspects of life. As a socially conscious human being and a talented artist, he tries to find meaning in the chaos that is life. Every play he wrote is a testament to this effort. Sonata tells the story of three urban upper-middle-class women and marks a significant departure in its selection of characters from those in the Wada trilogy. He left the arid villages of Vidarba district in Maharashtra to settle in the upscale neighborhoods of the city of Mumbai. The three women Aruna, Dolon and Subhadra belong to an upper middle class, educated and financially well-off. They, with the exception of Subhadra, live lives without any apparent commitment and are therefore not burdened by the emotional baggage that such relationships entail. On the surface, everything seems good and happy. But as the play progresses, we understand that there is more to what meets the eye. They could be representatives of modern Indian women who have broken the age-old chains of customs and traditions. They do not live according to the rules of society. They don't have to put up with chauvinistic men. They don't care about money. They all earn well to be able to spend money on perfumes, dresses, food, etc. But their relationship is not without its flaws. They constantly bicker, criticize each other, and make hurtful and judgmental comments, especially Aruna and Dolon. Subhadra's presence causes a talk between Aruna and Dolon. But the respite is only temporary. Samik Banhyopadhyay says, “With Subhadra’s departure, Aruna and Dolon lose their moment of triumph and glory. They can cling to their lost privilege ... middle of paper ...... go to your university, me to my bank. The night is over. (286) It is the music of the Sonata that lingers as the scene darkens, leaving Dolon sitting on the sofa, Aruna standing by his desk, both staring into the darkness, and thus ends another evening. Works Cited1. Elkunchwar, Mahesh. Collected Pieces of Mahesh Elkunchwar. New Delhi: Oxford University Press, 2010.2. Sree, S. Prasanna, ed. Indian women writing in English: new perspectives. First ed. New Delhi: Sarup & Sons, 2005. Print.3. Konar, Ankur. “Cultural “landscape” and social space: reflection of fragmentation in the Elkunchwar Sonata. » Galaxy: International Journal of Multidisciplinary Research1.1 (2012): 1-5. Internet. March 15, 2014.4. Hans, Anjali. “Feminism as a Literary Movement in India.” International Journal of Research in Applied and Basic Sciences 4.7 (2013): 1762-767. www.irjabs.com. Internet. March 19. 2014.