The urban tetralogy of Badal Sircar, i.e., Evam Indrajit, and Pagla Ghoda is broadly commemorated for investigating the existential angst, bureaucratic disenchantment, and emotive downturn of the men of post-independent India. Nevertheless, a critical fault happens when the women characters within this “urban canon" are rejected as the steady narrative devices or inert background to male angst. This paper investigates that the characters such as Mansi, the complicated spirit or ghost of the play Pagla Ghoda, Vasanti and Sunita are represented as quiet catalyst. They are not just the submissive sufferers, but they also fulfil the role of being important touchstone that reveal the scrupulous insolvency, mental timidity, and the systemic privilege of contemporary middle class male psyche. By descripting the feminine silhouette in these four texts, it has exposed that critique of the contemporary Indian society by Badal Sircar depends completely on the hushed, organisational hold of its female characters.