While many senior executives continue to talk about the "voice of the customer," few demonstrate their commitment to this concept by spending time with customers. Many continue to use their intuition or `golden gut' in their attempt to provide superior customer value. Unfortunately, `senior executive intuition' is rarely attuned to the needs of their customers. While the competitive environment continues to intensify, executives have cut back on the time devoted to customers just when it should be increasing. This article discusses the need for senior executives to spend time with customers and provides examples of the benefits that this approach will provide.

Badal Sircar's Evam Indrajit, like Beckett's Waiting for Godot, seeks to dramatize the disorganized and fractured life of modern man. It is a tale of a playwright who struggles in vain to write a play. The Writer is unable to write a play because, as a conscientious and an honest artist, he finds that modern life is too chaotic and fragmentary to have any meaning. However, he becomes hopeful of finding a hero for his play when he comes across Indrajit who perseveres to know the meaning of life by resisting to become a cog in the wheel unlike his worldly-wise friendsAmal, Kamal and Vimal. But his brief interaction with Indrajit proves that he is not a fit subject for his play since he does not have a core and a commitment. For Indrajit, the revolutionary, has dwindled into a Nirmal, "just an ordinary man". Moreover, he is too elusive to be contained within the structured framework of the play. The play ends with the Writer's assertion of his belief in a journey towards no defined goal, knowing for certain that the road is meaningless and the journey is irrational and futile. Sircar, like T S Eliot in The Waste Land, offers no hope for a meaningful personal and social life in a predominantly existential modern world.

Badal Sircar, the legendary playwright from West Bengal, made a durable contribution to the all too meager output of plays by Indians in English. A radical exponent of what has come to be called "Third Theater" or "Free Theater," he revolutionized the concept of production of plays by eschewing extravagant costume, expensive settings and design. Often compared to the innovative Polish director Jerzy Grotovski, Sircar transformed the actor-audience relationship into an intense exchange of energy, focusing on the actor's body as a powerful tool in the theater. This paper attempts to examine the sense of helplessness experienced by the modern middle-income man to find a modicum of meaning in life during the sterile 20^th century, as presented by the playwright in his seminal play, Evam Inderjit.

A sense of disillusionment and a collapse of all previously held values and beliefs is a characteristic feature of our times. For many intelligent and sensitive human beings, the world of the mid-20^th century, especially in the Western context, has lost its meaning and has ceased to make sense.. As a result, man sees himself faced with a universe that is both frightening and illogical andin a word, absurd. As Martin Esslin observes

For Us There is Only the Road: An Approach to Badal Sircar's Evam Indrajit, conscientious, interaction, assertion, irrational and futile, radical exponent, extravagant costume, intelligent and sensitive human beings, production.