A play opens late in the evening with an invocation of gods and goddesses by the players. It begins quite often with a tribute to the founder of the
Maanch mandal (group) and the script-writer.
This is followed by verses in praise of Saraswati (the goddess of learning), Ganesh, Bherun, Chousath Jogin
(The sixty-four nuns) etc. The songs are rendered by the entire cast standing with folded hands on the stage.
Both the Bhisti and the Farrasan run on their performance for more than an hour singing several songs. The
Chopdar has to perform an important role before the actual play starts. He invites the actors on the stage and introduces them with a few introductory words to the audience.
The dialogues in the Maanch always end with the refrain line which is sung by the performers, standing together either in the corner of the stage or arranging themselves near the instrumentalists. Here
dholak plays a vital part.
The orchestra repeats the dramatic verse and enables the actor to dance in circles at the conclusion of each couplet. The
dholak has its own style and forms the base of typical folk music of the region. The
sarangi is used to produce orchestral effects.
They sometimes even sit amongst the audience when there is no work on stage. Sometimes the characters do not leave the platform at all. They just go a few steps backward and wait for their turn. Certain characters make their entry majestically from a distance often walking through the audience.