Theatre companies in Tamil Nadu have probably experienced the longest linguistic exposure in Indian theatre. The remains and deviations of ancient traditions find their appropriate place in Tamil theatre in different forms. Based on them, many theatre companies in Tamil Nadu evolved to define the cultural zones in this southern state.

Theatre Companies in Tamil Nadu
The theatre companies in Tamil Nadu produced ballad traditions that had a proper storyline with some abstract dances having no oral narratives to accompany them, and the narrative forms combine story with performance. The energy, theatrical potential, variety, and versatility are the prime features of theatre companies in Tamil Nadu. Besides, the theatre companies in Tamil Nadu produce the renowned scripts and also some minor forms of theatre like Bommalattam, Kuravanji Natakam, Nondi Natakam, Katha Kalakshepam, Pallu, Kirttanai, Vilasam etc.

Some Popular Theatre Groups in Tamil Nadu are:

Kattaikkuttu Sangam: It is a social mission driven drama arts organization which uses the addition of moderate education and the performing arts to endorse "Kattaikkuttu".

Stray factory: Started in 2010 by Mathivanan Rajendran, the entertainment joint works with a network of actors, writers, musicians and artists and has introduced the notion of bar room comedies in Chennai. Led by cinema artists Rajiv Rajaram, Nikhil Sriram, Venkatesh Harinathan, Pooja Balu, Ajay Ayyappan, Sandeep John and Mathivanan, the team has been influential in shaping metropolitan theatre in the city. Stray Factory"s full length play "My Name Is Cine-maa" premiered in Singapore and they have also performed in Australia, Dubai and Malaysia.

Evam: Evam Entertainment was launched in 2003 by Sunil Vishnu K and Karthik Kumar. They work in four major art forms: Performing Arts Creation, Arts Management, Arts Education and Behavioral Training using the Arts. Having performed more than 200 shows and workshops in India and abroad, they are recognized for plays like "The Importance of Being Earnest", "Bane-UK Comedy", "Evam Standup Tamasha", "Bollywood Kee-Maa" and "An Idiot for Dinner". Comedy is their specialty, so predictably they have a group of talented names such as Baggy, Deepu Dileepan, Ashwin Rao, Alexander Babu and Rajiv Rajaram. Plus there are veteran stand-up comics like Rajneesh Kapoor, Aravind SA, Praveen Kumar and Jeeveshu Alhuwalia.

Crea Shakthi: Crea Shakthi has worked with well-known names like Mahesh Dattani, Rajiv Menon, Bombay Jayashri and P.C. Ramakrishna. They were also awarded Best Art Startup award a year after their beginning. The team has Dushyanth Gunashekhar who started the project along with Mohammed Faizan, Tanvi Patel, Vaidhya M. Sundar, Abhinav Suresh, Nayantara Nayar and Murali Satagopan who have together done over 300 public performances so far in India. With Campus Theatre being their main forte, they have been working with 45 top-notch schools and colleges in South India and have collaborated with Trinity College, London, AtticRep San Antonio, Flinn Theatre Berlin and Short + Sweet Sydney, teaching students about the art of theatre. They are acclaimed for their plays "Who"s e boss Now?", "Cutting Chai Putting Scene" and "God of Carnage".

The theatre companies in Tamil Nadu sometimes help the troupes to select their caste and costume. Other responsibilities like stage measurements, the crew of the theatre companies in Tamil Nadu also looks after varieties of screens, and other technical details. Urban societies often formed charity groups to patronize music, dance, and theatre in Tamil Nadu; however the importance of theatre companies in Tamil Nadu did not decline ever. Their flawless services and promotions, not only introduced great talents in this field of performance but they also took great care to retain the magic of Tamil theatre. They assured performers of middle-class audiences and eventually grew into powerful agencies, determining the character of cultural life by choosing what to sponsor or not. However, the theatre companies in Tamil Nadu were not commercial in the sense of surviving by ticket sales and they mainly aimed at reviving the art of theatre in south India.