This paper explores allusions to theatre and to the theory of drama and aesthetics in Murāri's only surviving work: the Anargharāghava or Rāma Beyond Price. These allusions and references contribute to a more general reflection of dramatic and artistic creation and provide a representation of the royal court and political action as theatre. Therefore, Murāri's play is much more than just another remake of the Rāma story: it is a reflection on art, theatre, the freedom of action, as well as contemporary polity.