Imagine this: it’s your first marriage anniversary. Your partner is at home, and you arrive, excited to surprise her. But as you walk in, you see her with someone you’ve never met or heard of before. You discover she’s having an extramarital affair. To make matters worse, you’ve already invited guests to celebrate the occasion. Now, put yourself in this situation, could you still celebrate the day? What would you do next? Isn’t it hard even to imagine?
A similar situation unfolds in Kagtali, a play currently being staged at Kausi Theatre, Kathmandu.
Written and directed by debutant Nabin Chandra Aryal, Kagtali tells the story of Shital (played by Basna Timalsina), Suraj (played by Rupesh Lama), and Bibash, Shital’s husband, played by Sabin Bhattarai. The characters find themselves entangled in an unconventional and emotionally complex encounter when they all come face-to-face under unexpected circumstances.
Blend of thriller and humour
The play, based on the crime thriller genre, not only keeps you curious about what happens next but also consistently adds elements of humor and comedy. In Kagtali, the audience can’t stop laughing throughout the performance, while simultaneously growing more curious about the consequences of the unconventional situation unfolding on stage.
This blend of suspense and humor is something rarely seen in Nepali theatre, and debutant writer-director Nabin Chandra Aryal does justice to the genre. He demonstrates how humor can be woven into even the most intense and unconventional scenarios.
Kagtali offers a refreshing take on genre-blending that Nepali theatre artists should consider exploring more in the days to come.
Kagtali wouldn’t have been this engaging and entertaining if the actors hadn’t executed their roles so well. Speaking of the performances, all ten characters deliver a phenomenal job on stage.
Awesome acting
Basna and Rupesh, in particular, impress the audience with their control over expressions and body language, especially in emotionally complex scenes.
Even as the audience and other characters burst into laughter, Basna and Rupesh manage to maintain their intense expressions, adding depth to the play’s contrasting tones.
The role played by Basna and as Shital and her aunty (played by Sushma Niraula) holds particular significance because they represents women who are well-educated and have the potential for successful careers but, due to family circumstances, are deprived of the opportunity to step outside the home and explore their individuality. Their characters becomes a voice for countless women whose aspirations are quietly buried under the weight of domestic expectations, shedding light on the silent sacrifices made in the name of tradition and duty.
The conversations among the characters feel natural—they mostly talk about everyday topics like family, work, and life. This makes the play relatable and grounded in reality.
As for the setting, the play is staged in a modest rented two bedroom apartment with a balcony, where characters often step out to smoke.
One particularly charming aspect of the production is the use of classic Nepali music in the background. The playlist is impressive, featuring songs like Ma Mauntama by Om Bikram Bista and Aruna Lama’s Pohor Saal Khushi, among others.
Room for improvements
While the play overall is exceptionally well-executed, there are a few elements the creators could consider improving. Firstly, according to the calendar hanging on the right side of the stage, the play is set in 1995. However, the bookshelf on the left side contains books published after that date, for instance, Vijay Kumar’s Khusi (2014) and Bettany Hughes’s The Hemlock Cup (2010). Similarly, there is a newspaper on the table dated 1996. Additionally, there is also a scene where the character Teku sign in a cheque from Gobal IME Bank, a bank established in 2012. These inconsistencies in set details create confusion about the play’s timeline.
Secondly, one of the characters uses a real khukuri on stage. It would be better to use a prop or artificial replica instead, firstly, for safety reasons, especially since there is an intense brawl scene where things could easily go wrong.
Secondly, because theatre, by its nature, is about making the artificial feel real, not about using real objects to heighten authenticity.
Kagtali: A must watch show
The play’s ending, too, is a memorable one, cleverly crafted to challenge your assumptions and leave you thinking long after the curtain falls.
Overall, Kagtali is an exceptional show. Whether you’re having a bad day or simply looking to be entertained with a mix of thrills and laughter, Kagtali is the best choice, catch it while you can.
