Mahesh Dattani is perhaps India's foremost playwrights to have taken up the challenge of writing about the local Indian scene in an 'alien language'. There is a smooth blending of the social critique and the English language which sometimes has certain limitations while describing subtle nuances of Indian culture. But he succeeds in his experiment just as he succeeds in bringing conventional themes along with some startlingly new ones in his plays. The present article focuses on one of his best loved plays Tara which is a reworking of certain staple critical idioms such the marginalization of the female sex and some unexplored ideas as far as Indian playwrighting is concerned such as the alter ego or the gendered self. But it is the only play of Dattani's that has touched upon the issue of disability and this aspect as to how disability affects not only the persons having it but also the immediate family, their reactions, responses, biases and the efforts put in to handle it deserves special attention. Along with this his technique as far as use of 'Indian English' is concerned, use of stage-spaces, and the effort put into making the written dramatic text as a performative text is looked into. The use of music is also indicative of the debate between aesthetics, beauty and ugliness. Music has been used as a strategy to highlight the thematic thrust of the play Tara