Is
the Nepali theatre scene short of playwrights?
Experts discuss the challenges and opportunities
facing playwrights in Nepal’s theatre landscape,
by Sanskriti Pokharel (kp 21/09/2024)
Family
fragility and migration:‘Kaacho Dhaago’ tells
the story of familial separation set against a
village grappling with drought and monkey raids,
by Rishika Dhakal (kp 06/09/2024)
A
comical satire on Nepal’s socio-political
reality : ‘Yugko Saancho’, an adaptation of
Roald Dahl’s ‘Charlie and the Chocolate
Factory’, features five different families, each
with their package of antics to be unpacked,
by Rishika Dhakal (kp 19/07/2024)
Arts
unbound, narratives changed : The debate on
disability inclusion in theatres is about more
than accessibility ramps and sign language
interpreters, by Sagar Prasai (kp
17/07/2024)
When
mythology mirrors life : Directed by Rajan
Murarung and written by Kiran Chamling Rai,
Mandala Theatre’s ‘Bakhaamma’ is mystical,
mesmerising and memorable, by Anushka Dhakal
(kp 12/05/2024)
The
battle for identity : Through compelling
narratives and symbolic elements, ‘Maasinya’
portrays the harsh realities faced by
marginalised communities and their ongoing fight
for identity, culture and existence, by
Aarati Ray (kp 10/02/2024)
Burdens
of the past, let out : ‘Pagla Ghoda’, written in
the 1960s, takes on a new life in Mandala
Theatre as it explores the tumultuous lives of
four characters haunted by their dark pasts,
by Anish Ghimire (kp 12/01/2024)
A
physical depiction of inner turmoil. Mandala
Theatre’s ‘The Rose: An Awakening Journey of
Yashodhara presents an unconventional,
dialogue-free exploration of Yashodhara
emotional rollercoaster following Siddhartha
Gautam’s departure, by Manushree Mahat (kp
05/01/2024)
Mental
health in the spotlight : Shilpee Theatre’s
‘Awoken Pillow’ examines the topic through a
self-aware script, raw acting and beautiful
choreography, by Manushree Mahat (kp
10/12/2023)
‘Wedding
Album’ dives deep into familial dynamics : Katha
Ghera’s newest production looks beyond the glitz
and glamour of wedding preparations, by Urza
Acharya (kp 07/10/2023)
A
portrayal of society, personal struggles and the
power of love : Mandala Theatre’s ‘Damini Bhir’
is an adaptation of the Madan Puraskar-winning
novel of the same name by Rajan Mukarung, by
Anish Ghimire (kp 19/09/2023)
Buddha
love of Nepali theatre : There is no dearth of
resources for theatre people who want to use
Buddha themes for their works, by Abhi
Subedi (kp 09/04/2023)
World
theatre day and our response : The colossal rise
of chaotic political events challenges the
theatre people today, by Abhi Subedi (kp
26/03/2023)
Trauma
and healing beyond the stage : ‘Content
Advisory’, a play on gender-based violence,
explores the real life stories of violence and
harassment faced by students in and around a
university campus, by Deepali Shrestha (kp
10/12/2022)
Theatre,
linguistics and politics : The Nepali society is
experiencing moments of changes of different
orders of significance, by Abhi Subedi (kp
04/12/2022)
Theatre
is a powerful tool for social transformation :
Indian actor Shabana Azmi talks about the
transformative possibilities of theatre and the
role of artists, intellectuals and corporates in
sustaining them, interview with Shabana Azmi
(kp 27/11/2022)
Nepali
theatre of the oppressed : The choice of the
theatre for creating the effect of resistance
heralds a new mode of awakening, by Abhi
Subedi (kp 03/07/2022)
Nepali
theater beyond Nepal: identity, education, and
experimentation, by Monica Mottin (rec
27/06/2022)
Symbolism
leads to introspection in ‘Ular’ : Che Shankar’s
theatrical adaptation of the novella ‘Ular’
stays true to the essence of the original medium
but dares to lean into symbolism instead of
realism, by Shranup Tandukar (kp 27/04/2022)
Theatre
at its most powerful : 'Khat’, an original play
based on Nepal's decade-long 'people's war', has
an ingenious set design that allows for a
powerful theatrical experience, by Shranup
Tandukar (kp 20/04/2022)
Katha
Ghera’s adaptation of “Animal Farm” takes a jibe
at Nepali kleptocracy : The theatrical
adaptation of George Orwell’s satirical novella
“Animal Farm”, being staged at Kausi Theater,
reflects on the deficiency of a proper
leadership in Nepal, by Anushka Nepal (nlt
09/12/2021)
Cultural
plays in Nepali theatres : Pachali Bhairab, a
cultural play presented by Bajra Kala Kunja in
Kausi Theatre, showcased how impactful cultural
plays can be. But, such plays need support from
locals and the government to continue, by
Shranup Tandukar (kp26/11/2021)
Nepali
theatre’s dilemma : As Nepali theatres in the
Valley come back to life after the lockdowns,
foreign adaptations are dominating the theatre
scene, by Shranup Tandukar (kp 09/10/2021)
A
play that makes you question your own existence
: Known for acclaimed plays like ‘Bokshi ko
Ghar’ and ‘Milk Tea’, Sulakshan Bharati is back
after a hiatus of three years with his
thought-provoking solo play ‘Ma’, by Ankit
Khadgi (kp 01/10/2021)
An
exceptional one-man show : Kausi Theatre’s
‘Harek Babal Kura’ is a heart-warming tale that
highlights the issue of mental health with the
utmost sensitivity, by Ankit Khadgi (kp
14/09/2021)
Celebration,
censorship, and indifference: Nepali theater in
the shadow of the state, by Deepesh Paudel
(rec 03/08/2021)
Theaters
in Nepal: Learning to navigate a new terrain : The
revival of theaters is at least two years away, and in
that time, they must find a way to stay in people’s
mind and survive, by Cilla Khatry (ae 15/07/2021)
Experimental
theatre in the time of Covid-19 : A recent virtual
performance reminds us of the power of theatre and
life, by Abhi Subedi (kp 06/06/2021)
Pandemic
takes a toll on Nepal’s theatre community : The
majority of theatres in the country have now been
closed for over a year and this has left artists
facing multiple challenges, by Ankit Khadgi (kp
05/05/2021)
Turning
public spaces into stages, theatre artists carry on
despite pandemic : In the gloom of the pandemic and
rising corruption and crimes, theatre artists are
taking on the responsibility of voicing social issues
through their performances, by Srizu Bajracharya
(kp 13/10/2020)
The
problems of Nepali theatre extend beyond the pandemic:
Nepali theatre has been struggling financially for a
long time. If the condition before the pandemic was
poor, it is now dire, by Timothy Aryal (kp
12/08/2020), Light
up the stage: For Nepal’s arts scene to flourish, the
government must act as a guardian and get the show
going (kp 13/08/2020)
‘Territorium’
attempts to break territories of theatre and art:
Norwegian artists’ diverse visual performance concert
leaves the audience confused, and amazed, by
Shashwat Pant (kp 06/01/2020)
Not
enough spark in ‘Bhus ko Aago’: The play, currently
being staged at Shailee Theatre, has stellar
performances but a tottering plot that fails both the
actors and the audience, by Ankit Khadgi (kp
11/12/2019)
After
a short hiatus, misogyny is back in Nepali theaters:
‘Cha Cha Hui’ is a film about perverts chasing their
perversions with an especially perverted item song,
by Abhimanyu Dixit (kp 30/11/2019)
Mocking
the dance of deathOne World Theatre has once again
brought us an exciting theatrical piece, one the
theatergoing audience of Kathmandu should experience
firsthand, by Kurchi Dasgupta (kp 23/05/2019)
Where
do we go from here? Mita, Ab Kona Chalab questions the
Madhes-Pahad conflict through the eyes of an innocent,
all-encompassing friendship, by Sachitra Gurung
(kp 15/05/2019)
Is
Nepal’s #MeToo movement finally taking off? The
theatre fraternity’s response to revelations of sexual
harassment by several of its members has provided a
template on how such behaviour could be handled,
by Bhrikuti Rai (kp 11/05/2019)
Vagina
Monologues
tackles harassment and patriarchy on a personal level:
New edition of the play follows allegations of sexual
harassment against theatre practitioners, and centres
around female actors expressing anger at growing
incidents of violence against women in the country,
by Tsering D Gurung (kp 26/04/2019)
Better
change your scene: The time has come for the theatre
fraternity to act to make the stage safer for all,
by Deepesh Paudel (kp 18/04/2019)
What
is theatre for? Transformation comes by making people
feel that they are free, by Abhi Subedi (kp
03/03/2019)
The
language
of theatre: At the Nepal International Theatre
Festival, two plays show that language is no barrier
to understanding theatre, by Anish Regmi (kp
01/03/2019)
The
curtain rises: International theatre fest
reflects the country’s thriving art and culture scene
(kp 26/02/2019)
Reviving
an old Tharu story with a modern twist: Karot, the
second play in Tharu language, is being staged at
Sarvanam Theatre, by Timothy Aryal (kp 26/12/2018)
Dramatic
solutions: It’s time for the state to gear up its
responsibility in developing and leading the theatre
industry, by Deepesh Paudel (kp 04/11/2018)
Life
is elsewhere: Khabar Harayeko Chitthi offers new
perspective on what is possible within the scope of
black-box theatre, by Sandesh Ghimire (kp
15/09/2018)
Rastriya
Nachghar
and its discontents: Rastriya Nachghar, the one-time
hub for the country’s theatrical activities, is
seemingly more into making profit than elevating the
theatre scene, by Timothy Aryal (kp 18/08/2018)
Bull's
eye:
Sakeko Tiraula Natra Firima is a great example of how
Kathmandu’s theatres are taking Western classics and
making it their own, by Timothy Aryal (kp
11/08/2018)
Revisiting
revisionist
history: Transcending normative femininity is what
makes Rajendra Laxmi notable, and we are encouraged to
value her because she “acted like a man”, by Abha
Lal (rep 14/07/2018)
All
the men and women merely players: Nepali theatre
struggles to survive even while it stages plays about
everyday struggles, by Sewa Bhattarai (nt
29/06/2018)
Coming
full
circle: Kathmandu’s newest theatre, Kausi, is housed
on the terrace of a family home. Here is how the novel
project came to be, by Abha Dhital (kp 23/06/2018)
Nepali
theatre in transition: Theatre has gained some
momentum in Nepal but it’s still far from winning due
recognition, by Vinaya Ghimire (kp 20/05/2018)
Scratching
the
surface: The play Sakhi has all the right ingredients
to bring home the message that it was the common
Nepalis that suffered during the decade-long
insurgency; but fails to leave an indelible mark,
by Sandesh Ghimire (kp 21/02/2018)
All
the
rage: The newly-opened theatre house in Kathmandu,
Kunja Theatre, starts with the adaptation of A
Madman’s Diary; and director Che Shankar’s rendition
is eerily appealing, by Timothy Aryal (kp
24/02/2018)
A
quiet rebel: Kashidevi, a play based on Kashidevi Jha,
makes for a unique theatrical experience, thanks
to the deft performances and the sonorous Maithali
dialect, by Timothy Aryal (kp 20/01/2017)
Theatre
reborn:
Theatre, as for most segments of the Nepali society,
is dominated by the male voice, but a new crop of
actors and directors are helping change just that,
by Timothy Aryal (kp 31/12/2017)
The
road
to redemption: Chiso Bhanjyang, an adaptation of
British author Ian McEwan’s world-war novel Atonement,
byoyed by a poignant narrative and powerful
performance by its cast, might well prove to be a
benchmark for contextualising a foreign text in Nepali
context, by Timothy Aryal (kp 30/12/2017)
Behind
the curtain, by Timothy Aryal (kp 28/10/2017)
Why
we
play: Having a sound department is farfetched for
cash-strapped Nepali theatres, but more and more
musicians are venturing on stage out of sheer passion,
by Nhooja Tuladhar (kp 07/10/2017)
Form
without substance: Using riveting Nepali dance
sequels, Bodhi Chhaaya manages to weave the life
events of the awakened one, but the play barely
scratches the surface of the Buddha’s spiritual
strivings, by Sandesh Ghimire (kp 23/09/2017)
Tika
Pahari marking theatre comeback with Lati ko Chhoro
(kp 13/08/2017)
A
messy affair: Daraundi ko Paani is a welcome effort to
dramatise a footnote in Nepali history, but it comes
off as a underwhelming play, one that could have been,
by Timothy Aryal (kp 12/08/2017)
Tyranny
vs
reason: Mandala Theatre’s rendition of the illustrious
play, directed by Rajan Khatiwada, captivates at times
but suffers several technical shortcomings, by
Timothy Aryal (kp 15/07/2017)
‘Decentralising’
Nepali
theatre, by Bimal Khatiwada (kp 11/07/2017)
Transiting
through
life:
Saledo, a play currently being staged at Mandala
Theatre, tells the story, in a flashback, of a life of
a dignified man at cusp of death, by Timothy Aryal
(kp 03/06/2017)
From
the
margins to centre stage: One World Theatre’s The
Laramine Project: Ten Years Later brings important
LGBTIQ voices to Kathmandu, by Sanjit Bhakta
Pradhananga (kp 21/05/2017)
Holistic
growth
through theatre: The annual children’s theatre
workshop ends with the staging of Ma Joker Banchhu
(kp 23/04/2017)
The
revolution
will be staged: Andolan, a play based on the Jana
Andolan II, goes on stage in the Capital (kp
12/04/2017), What
has
changed?, by Timothy Aryal (kp 15/04/2017)
Theatre
artists
in Kathmandu might be ‘breaking a leg’ before
performances but are they also breaking the bank?,
by Timothy Aryal (kp 08/04/2017)
Of
the
oppressed and the oppressors, by Timothy Aryal (kp
18/03/2017)
The
devil
within: Theatre Mall’s latest production Bed Number 99
brings to the fore issues of mental illness and its
treatment, by Timothy Aryal (kp 04/02/2017)
Stages
Of Nepali Drama, by P. Kharel (rn 30/01/2017)
Still
hungry:
First penned in the 80s, the current adaptation of
Govinda Bahadur Malla’s Bhoko Ghar asks if things have
changed at all, by Timothy Aryal (kp 24/12/2016)
A
celestial theatre: Shilpee Theatre’s latest
production, Chiriyeka Saanjh Haru, was a promissory
note on the future of Kathmandu’s theatre-scape,
despite its shortcomings, by Timothy Aryal (kp
10/12/2016)
A
flower on a lake: Following a theatre production in
Mugu, by Niranjan Kunwar (kp 15/10/2016)
Looking
in,
looking out: Examining two recent theatre
productions—Thangla and Arjuna’s Dilemma—in the
context of Nepali theatre, by Niranjan Kunwar (kp
17/09/2016)
Touching
the
sublime: Arjuna’s Dilemma is about one significant
moment in The Mahabharata transformed into a
comprehensive experience of dissonance, ending in
resolution and harmony, by Kurchi Dasgupta (kp
04/09/2016)
Bhagvad
Gita
as opera: East meets West in the performance of
Arjuna’s Dilemma at Patan Museum next week, by
Smriti Basnet (nt 26/08/2016)
Nepali
pastoral:
In Khagendra Lamichhane’s play Dant ko Dob, Nepal’s
rustic reality—and its socio-economic dynamics—takes
centre stage, by Timothy Aryal (kp 09/07/2016)
Theatre
Village
and the city, by Shiva Rijal (kp 11/06/2016)
A
case for communal harmony: The play Kathadesh 3,
directed by Aashant Sharma, currently on at Gothale
Theatre, depicts two ancient societies and tells us
lessons that should be learned from them, by
Timothy Aryal (kp 05/06/2016)
She’s
a
rebel, by Timothy Aryal (kp 28/05/2016)
To
thine
oneself be true: The Nepali adaptation of the
Shakespearean play Hamlet closes at the Theatre
Village as the production sets its sight on London,
by Rea S. Mishra (kp 10/05/2016)
A
Midsummer Night’s Sapana: Shakespeare’s epic fantasy A
Midsummer Night’s Dream gets a Nepali rendition,
by Sahina Shrestha (nt 01/04/2016)
A
new online hub for theatre enthusiasts: The website
and mobile app, Theatre Hub, is helping bring together
theatre actors and enthusiasts (kp 25/03/2016)
Sarwanam’s
Mukti
represents Nepal in Germany (kp 23/03/2016)
Anna
in
the Tropics: With a muted backdrop, strong
performances by the actors take centre stage, as
several scenes stay with the audience long after they
end, by Smriti Basnet (ht 11/03/2016)
Not
vulgar.
Against violence, by Prateebha Tuladhar (kp
05/03/2016)
The
chaos
of Ra Mailo: Ra Mailo, a Nepali contexualisation of
French playwright Jean Anouilh’s 1967 play, evokes the
absurdities of life, by Timothy Aryal (kp
06/02/2016)
No
cloistered
virtue: A group of theatre artists try to become a
part of the surreptitious dealing at Ratna Park to
understand the other side of the story, by Erika
Bam (kp 23/01/2016)
All
the
world’s a stage, by Cilla Khatry (rep 22/01/2016)
Galvanising
Nepali
theatre: The two-day-long seminar saw presentations
and discussion on the status of contemporary Nepali
theatre (kp 03/01/2016)
Symbols
and
satire: Sanjeev Uprety’s Makaiko Arkai Kheti is a
remarkable play, by Deepesh Paudel (kp 20/12/2015)
Dramatic
solutions:
Nepali theatre has come a long way in the last decade
but it still has a lot more to learn, by Deepesh
Paudel (kp 15/11/2015)
Chronicling
a
legend: BP’s life and works come alive in Sandajuko
Mahabharat, by Timothy Aryal (kp 03/10/2015)
Theatre
for
therapy: Post-quake trauma can be addressed through
theatrical mediums, by Abhijan Chitrakar-Phnuyal
(kp 19/09/21015)
Speaking
truth
to power: Singha Durbar ko Tender, contextualised for
Nepal by Dilip Ranabhat in his directorial debut,
succeeds in distinguishing itself as a well conceived,
conceptualised and executed commentary on Nepali
governance, by Rachana Chettri (kp 27/06/2015)
Finding
healing
through theatre, interview with Rajan Khatiwada
(kp 05/06/2015)
Quake
recollections
enacted on stage: Culture expert Satya Mohan Joshi
recalls how trees danced in the 1934 quake when he was
a teen (ht 29/05/2015)
The
show
must go on, by Sachi Mulmi (rep 29/05/2015)
Helping
the
people heal through theatre, by Dayahang Rai (kp
26/05/2015)
NSD
staging
dramas for quake victims, by Devendra Bhattarai
(kp 17/05/2015)
A
theatre in transition: In 34 years, Sarwanam Theatre
has pushed the boundaries of theatre and brought the
art form closer to the masses, by Deepesh Paudel
(kp 12/04/2015)
His
lessons:
Mahesh Dattani’s three-day workshop in Kathmandu had a
lot to teach theatre artists, by Deepesh Paudel
(kp 22/03/2015)
An
earnest
show: The Laramie Project on Capital’s stage (ht
08/03/2015), Remembering
Laramie, by Rachana Chettri (kp 14/03/2015)
New
frontier:
There is a great fun in witnessing a play drawn from a
foreign culture and presented in a foreign language,
by Kurchi Dasgupta (rep 28/02/2015)
Intolerance
for
hate: One World Theatre produces a play to raise
questions about intolerance, by Stéphane Huët (nt
27/02/2015)
Theatre
of
shattered dreams, by Rachana Chettri (kp
31/01/2015)
Before
the
curtains rise, by Priyanka Gurung (rep 30/01/2015)
|