<figure><img width="1920" height="1080" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14949c7e80680e0a9984jpeg.jpg" alt=""/><figcaption>All photos: Bijay Tamrakar/One World Theatre</figcaption></figure>Sara and Callie are taking a walk late at night through the West Village. They have just been out at a bar and the night is young. Against the colourful high-rise of bricks and windows projected onto plywood screens, they give into the whirlwind of emotions long overdue and they kiss.Enter an angry bystander (this is New York, after all) and what could have been the best night of their lives turns into an ugly nightmare. He attacks the two lovers violently, and Sara suffers injuries that sends her into coma.This is where American playwright Diana Son’s Stop Kiss begins (we don't exactly know when the attack has happened: is it before the start of the play or after the first scene?), and it is being staged 23 years later at Shilpee Theatre in Battisputali. Directed by <a href="http://archive.nepalitimes.com/news.php?id=438#.YaSLftBByUk" target="_blank" rel="noopener noreferrer">Loonibha Tuladhar</a> and presented by One World Theatre (OWT) with support from the US Embassy, the revival is an English-language adaptation.This is perhaps the first play staged in Nepal in recent times, and one of the first to focus on queer women. The premier on 25 November coincided with the International Day for the Elimination of Violence against Women, and <a href="https://en.wikipedia.org/wiki/Stop_Kiss" target="_blank" rel="noopener noreferrer">the play</a> will run till 4 December to overlap with  16 days of activism. <img width="2120" height="1192" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14979c7e80680e0a9985jpeg.jpg" alt="">Mitini Nepal estimates that 38% of lesbians and 62% of transgenders in Nepal continue to face violence in Nepal. Recently, countries like South Korea and Japan have used the Covid-19 pandemic as a ruse to discriminate against <a href="http://archive.nepalitimes.com/news.php?id=16160#.YaSMndBByUk" target="_blank" rel="noopener noreferrer">the LGBTQ+ community</a>. The situation in Nepal is not any better. Discrimination aside, people who belong to the LGBTQ+ spectrum have few safe spaces to open up, and feel comfortable in their own skin.But, surely, for many young progressives today, the play might appear demure or too gentle. “There isn’t enough sex,” one might say. Or “Why are there no mobile phones, so much of the trouble could have been avoided with a mobile phone!” After all, in the two decades since the play was first produced, much has changed in the world.But a lot remains the same. Stop Kiss is not merely a lesbian play from the 1990s North America. It is also a reminder that despite vicious attacks and protests the <a href="http://archive.nepalitimes.com/article/nation/Night-and-%20Day,3145" target="_blank" rel="noopener noreferrer">LGBTQ+</a> movement around the world today has reached a point where its members can consider getting married, holding hands and expressing themselves. <img width="2120" height="1192" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d149b9c7e80680e0a9986jpeg.jpg" alt="">And it is even more important in a country like Nepal where progress is incremental, and the reminder is encouragement to fight for one’s right to love without judgement and violence. Tuladhar and Kavita Srinivasan’s co-direction and the cast of Stop Kiss do not shy away from this scope and significance of their stage production.Tuladhar admits she was nervous at first, unsure whether she was right for the role. “But violence against women and the queer community in our society takes many forms, and often it is quiet and we don't even realise that we are being violent,” she says. “The play felt important and necessary because through it people can reflect and make their voices heard.”The show's co-director, Kavita Srinivasan echoes this. “Even now many women and queer people are not comfortable going out alone, especially at night,” she says. “But why should we have to fear to exist in our own society?” <figure><img width="2048" height="1368" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d149e9c7e80680e0a9987jpeg.jpg" alt=""><figcaption> </figcaption></figure>Ranjana Bhattarai and Samapika Gautam shine as Callie and Sara, their chemistry natural and profound. Bhattarai plays Callie’s New York ‘up in the air’ traffic news reporter like a dancer who listens to the music rather than only memorise the steps. Gautam is the perfect counterpart, as grounded and methodical as Sara, a third-grade teacher.The two women are riotous together – they dance, laugh and yell, their hands make wide gestures as they try to wordlessly communicate the stirrings in their hearts, perhaps felt by both for the first time. There is also tension between them, as they do not know the right thing to say or to do.But Bhattarai and Gautam convince us that in their apparent differences is touching resonance. Both intense and hilarious, they carry the entire emotional weight of the play in their performances, going from unsure awkwardness of new acquaintances to wild, gushing nervousness of first-time lovers. <img width="2120" height="1192" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14a19c7e80680e0a9988jpeg.jpg" alt="">The supporting cast is also impressive. Gaurav Bista is perfect as the agonisingly heterosexual George, Callie’s on-and-off boyfriend. <a href="http://archive.nepalitimes.com/blogs/thebrief/2014/09/09/blood-and-mud/" target="_blank" rel="noopener noreferrer">Loonibha Tuladhar</a> steals the scenes as Mrs Winsley who witnesses the attack on the protagonists. Anahita Sarabhai is excellent as the Nurse, and Sushrut Acharya as Detective Cole and Bruno Deceukelier as Peter make the most of the few scenes they have.But the real stars of the show are certainly the relentless crew-members, who have the toughest job at Shilpee every night: making sure everything looks seamless on stage and nothing falls over and breaks during the countless scene changes. The story is told out of order, so it unfolds in sets of ‘before’ and ‘after’ the attack.The set design is aptly minimalist and modern, and the soundtrack of hit 90’s tracks (think Cyndi Lauper’s <a href="https://www.youtube.com/watch?v=PIb6AZdTr-A" target="_blank" rel="noopener noreferrer">Girls Just Wanna Have Fun</a>) adds to the whole ‘concrete jungle where dreams are made’ vibe of New York.While the shadow of the altercation looms large, crass and imposing, and the play has much in common with a Greek tragedy – the violence happens off-stage and there is a sense of foreboding throughout (we find out about the attack and the coma very early on). <img width="2120" height="1192" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111016118/636d14a59c7e80680e0a9989jpeg.jpg" alt="">But Stop Kiss is far from the stereotype of sad and fatal <a href="http://archive.nepalitimes.com/article/nation/Finding-refuge-in-cyberspace,3146" target="_blank" rel="noopener noreferrer">LGBTQ+</a> stories that either end in death or separation. Instead, it is open-hearted, warm and determined to impact audiences of all ages and background.“While the physical, external violence forms the backbone of the play, there is also a second kind at play here, borne of shame, judgement and discrimination,” adds Srinivasan: “Hopefully the play will create momentum for conversations to make our society truly inclusive, not just in plans and speech but also in action.”Stop Kiss is playing at Shilpee Theatre in Battisputali until 4 December 2021. Runtime is 2 hours and 10 minutes with no intermission.Tickets: Rs500 and Rs700 for front-row seats9861053015/stopkiss@owtnepal.orgShowtimes: 5:30PM, with an additional 1PM show on 4 December.

Ashish Dhakal

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The price of a kiss

<figure><img width="1920" height="1280" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101152/636a27099c7e80680e043a4djpeg.jpg" alt=""/><figcaption>Salil Subedi performs a coneptual piece depicting environmental activism at the inauguration of Nepal International Theatre Festival 2019. </figcaption></figure>“A girl doesn’t need a master’s degree, I have found a headmaster for you instead.”Thus starts Rape Machine, a play in which actress Diya Maskey gets married off with a chain around her neck instead of a garland of flowers. Later as she travels in a public bus, she is sprayed with white foam – an allusion to women being molested on public transport. Later, volunteers walk down the aisle handing out candy, each of which is wrapped in a message about violence against women: ‘Today it is her, tomorrow it could be you.’ Or ‘Don’t tell me how to dress, tell them not to <a href="https://www.nepalitimes.com/banner/four-fold-increase-in-reported-rape-in-10-years/" target="_blank" rel="noopener">rape</a>.’The opening performance at the Nepal International Theatre Festival 2019 at Mandala Theatre in Kathmandu on Monday was emblematic of everything that characterises Nepali theatre today: realistic, hard-hitting stories and experimental storytelling.The Festival is the first festival of its kind with all of <a href="https://www.nepalitimes.com/here-now/all-the-men-and-women-merely-players/">Kathmandu’s theatres</a> taking part. Over this week, 30 plays from nine countries are being performed in four theatres: Theatre Mall in Kirtipur, Kausi Theatre in Teku, Shilpee Theatre in Battisputali, and Mandala Theatre in Anamnagar.“We used to see such festivals all over the world, and longed to have one in Nepal too,” says Rajan Khatiwada, festival director. “Considering the rise in interest in theatre in Nepal, it was high time Nepali performers showcased their popularity by coming up with an inclusive, large scale festival.”Read also: <a href="https://www.nepalitimes.com/here-now/all-the-men-and-women-merely-players/" target="_blank" rel="noopener">All the men and women merely players</a>, Sewa Bhattarai <figure><img width="1920" height="1280" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101152/636a270c9c7e80680e043a4ejpeg.jpg" alt=""><figcaption> </figcaption></figure>The festival is proof that Nepali theatre has come of age. The drama scene is booming with new theatres coming up every year, plenty of media attention and a growing number of viewers. Theatre is the basis for learning all other art forms since it includes storytelling, painting, set design, costumes, visual arts, sound, performance.Across the world, actors start from theatre because it is the place to hone their stagecraft. Nepali actors from Saroj Khanal in the past to Dayahang Rai today made it big in movies after starting out in theatre. Most artists credit Sunil Pokharel who established Gurukul Theatre in the 1990s with pioneering modern theatre in Nepal.Theatre is also popular because it is telling stories that Nepali cinema usually does not. “Our theatre is very different from the formulaic storytelling of cinemas,” explains festival adviser Anup Baral. “We try to look for and tell stories that reflect our current society, which audience do not get anywhere else.”Read also: <a href="https://www.nepalitimes.com/review/children-on-stage/" target="_blank" rel="noopener">Children on stage</a>, Sewa BhattaraiTheatre therefore attracts a select class of audience that wants to go beyond masala entertainment. “The audience of theatres and cinemas are very different,” says actor Dayahang Rai. “While cinema is created for a mass audience, theatre is created for more thoughtful viewers who appreciate nuanced storytelling. Our crowd is mostly young students with intellectual curiosity.”The vibrancy in Nepal’s theatre scene also reflects a society in ferment, coming out of a brutal war, a decade of instability and hopes of a revolution dashed. Visual and performance artist Ashmita Ranjit believes there is a burst of creativity in the theatre scene in Kathmandu. “There is a lot of experimentation going on and this festival has also shown remarkable solidarity among the theatres who have come together to organise it.”Indeed, Ranjit herself is one of the experimenters in performance art where artists perform as themselves rather than characters. Along with musician Salil Subedi, she performed at the opening of the festival. While Subedi lay buried in the ground and slowly made music with a singing bowl, Ranjit brought him out of the earth, and together they took a fishbowl full of water and sprayed it at the audience.Read also:<a href="http://archive.nepalitimes.com/news.php?id=1140#.XHVZxJMzYnU" target="_blank" rel="noopener">Real life drama</a>, Abha Eli Phobo<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=16216#.XHVZwpMzYnU" target="_blank" rel="noopener">The theatre of life</a>, CK LalExplains Subedi: “The performance symbolised the fact that we all come from the earth. Inflicting physical pain on myself was very different from simply acting it out in a drama. It underlined the importance of nature, and especially of water to us. This is environmental activism on stage.”Despite the boom, Nepali theatre still suffers from a limited audience, lack of funds, shortage of theatres, and playwrights. Prime Minster KP Oli himself inaugurated the festival, and promised to change things: “Theatre is not just entertainment, it is also a means of social change,” Oli said at the event. “It is the government’s duty to also protect and help it thrive.”The theatre community hopes he wasn’t just mouthing those lines.Some Highlights:Gaida TimesDirector: Sijan DahalGroup: Kadam TheatreCountry: Jhapa, NepalPaanchDirector: Sudam CKGroup: Katha GheraCountry: Kathmandu NepalMattbringDirector: AKM Yusuf HassanGroup: BibartonCountry: Jessore, Bangladesh Desaparaecidos 43Director: Anna Dora DornoGroup: Istabili VagantiCountry: Italy

All the world is a stage in Kathmandu

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161120/636922659c7e80680e03a127jpeg.jpg" alt="" width="1500" height="1000"/>After staging plays by foreign writers, Mandala Theatre has forayed into an original Nepali folktale, with a sharp contemporary socio-political message.Jalini is a short story in Dhruba Satya Pariyar’s book Kairan that was shortlisted for this year’s Madan Puraskar, and adapted by the author and director Dayahang Rai into a play that is a satire with a message of inclusion.An arrogant king wants to stand out in history, and is told he will do so only if his daughter makes a sketch of him. He imprisons her in a palace so that she can see no other man.The folktale of Rapunzel springs to mind. Even the Buddha was confined to his palace so that he could not see the sufferings of the world. But, as expected, the unseen holds the most fascination, which is what happens to Jalini.Read also: <a href="http://archive.nepalitimes.com/news.php?id=19506#.W6Io_s4zbIU" target="_blank" rel="noopener">Highway</a>, Sophia Pande<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/review/Degree-Maila-review,963" target="_blank" rel="noopener">Degree Maila</a>, Sunir Pandey<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161120/636922699c7e80680e03a128jpeg.jpg" alt="" width="1500" height="939"><figcaption>Photos: MONIKA DEUPALA</figcaption></figure>Jalini's story attempts to trace how the imprisonment of women in homes leads to their subjugation, and secondary place in society. It is not just Jalini's body that is confined, but her heart and mind as well. And this just to satisfy the whims of a king unhinged with power. Jalini is not just a princess but a symbol of womanhood, and you will have to go watch the play if you want to find out if she finally breaks out of her confinement.The stage is taken up by a powerfully choreographed movement of the kingdom’s good citizens labouring to construct a palace for Jalini. A woman named Jaljala (so named perhaps to remind us of the mountain in Rukum that became a symbol of the Maoist revolution) speaks out boldly against tyranny, and the plot thickens as Jalini is brought to confront a world she had never seen.The king's attempts to force the people to do his bidding as he ignores their hardships is reminiscent of despotic regimes today. He takes pride in how he has decorated the walls of his palace with pictures of his long-suffering subjects, and thinks that passes for doing something to uplift them. This is obviously a satire on the tokenism and lips service to inclusion in present day Nepal.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/taandro-film-review,4036" target="_blank" rel="noopener">Tandro</a>, Rabin Giri<a href="https://www.nepalitimes.com/here-now/all-the-men-and-women-merely-players/" target="_blank" rel="noopener">All the men and women merely players</a>, Sewa Bhattarai<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161120/6369226c9c7e80680e03a129jpeg.jpg" alt="" width="1500" height="1000">The play entertains even as it subtly draws the audience to think about caste and gender discrimination. The music changes from dramatic to romantic and fantastic depending on the scenes, adding an audio element to the stagecraft. There are loose ends: some mysteries are not solved even till the end, and there is a distracting scene of a prime minister who does not have a major role in the plot.Bijay Baral as the king deserves special mention for his perfect comic timing. <a href="https://archive.nepalitimes.com/article/from-nepali-press/Film-funny-man,1349" target="_blank" rel="noopener">Dayahang Rai</a>, the film actor who began his career in theatre has come back a full circle to the stage. He tries not to make this  love story with a political message too preachy or predictable, and he largely succeeds in giving Pariyar’s fairy tale a hopeful and optimistic tint in a darkly cynical world.5:30 PM everyday except MondayMandala Theater, Until Oct 7Phone: 01-6924269

Once upon a time

https://youtu.be/2h_MNN1I9r4Sangita Uranw describes the first time she saw the inside of a theatre: jaw- dropping. Used to performing street dramas, where passersby jostled to watch her, she had never been inside a proper theatre. She did not know that there were places where plays were staged.Uranw, 22, is the first professional actress from the Uranw, a sidelined and neglected Tarai community.  Few in her native Kuchhita village of Sunsari are educated, and rarely do women leave households. Uranw’s story, therefore, is itself drama in real life, and provides an example of how previously unseen sections of society are now <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-Queens,216" target="_blank" rel="noopener">actors on the national scene</a>.“I was interested in acting from a very young age, dressing up and performing at home,”  recalls Uranw (pronounced: Oo-raa-o with a nasal intonation in the ‘raa’). “I got involved in child clubs, and then in street dramas where we spread awareness on issues like child marriage, dowry, sanitation.”When Ghimire Yubaraj, director of Shilpee Theatre, went to Sunsari to give theatre training, he spotted 18-year-old Uranw’s potential talent and offered her a three-month scholarship in Kathmandu.“At first my parents worried about where I would stay, what I would eat. ‘Are you really going to become an actor?’ they would ask. But in the end, my passion convinced them,” says Uranw.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107111152/6368e4289c7e80680e0333c2jpeg.jpg" alt="" width="1400" height="788"/><figcaption>Bikram Rai</figcaption></figure>She first started re-enacting her village life at Shilpi: she created stories, fleshed out characters, and saw dramatic potential in the ordinary.“Sangita created a memorable solo performance in Uranw and Nepali languages, where she acts as ten different characters. Interestingly, the story is told by a crab. She brings her village to life,” says her mentor Ghimire Yubaraj.Making a dramatic crablike entrance, Sangita does a half back flip, lands on her back, and walks backwards on two hands and two feet. A little girl takes the crab home and it narrates how her alcoholic father drinks instead of taking her to the hospital, how her stepmother assigns chores to her, how eager she is for a glimpse of her neighbour’s TV.“As children, we used to go to the paddy fields in monsoon to plant rice, and to look for crabs in the rivers to eat in chutneys,” remembers Uranw.That is what I want to bring to stage: stories that I have seen, felt and experienced. We have so many stories in every village of Nepal, but we rarely see them on stage, and I want to change that.”She found that particular story in the life of her friend, who had a difficult time after her mother passed away. The 30 minute solo performance was scary for her at first, but shows her dedication and passion for the craft: it was praised for capturing the essence of life in the Uranw community after being staged at Shilpee Theatre and travelling to Morang and Jhapa. Her family, including her mother, attended the  play in Biratnagar and were proud to see her perform.While she learns and works at Shilpee Theatre, Uranw is also attending college, and is grateful for her family’s support. “The most important thing for them is that I am getting to study. And, as long as I continue my education, they will not complain,” she says. But for Uranw herself,  theatre always comes first.Over the past three years she has worked in six plays and feels there are many other Uranw youth who have the talent to be on stage and also succeed in many other fields. She says: “There were no actors from the Uranw community, but I succeeded because of my family’s trust and support. There are many others like me, and they can excel in whatever they want to do if they get the opportunity.”Also Read: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/old-traditions-new-meanings-kartik-nach,3355" target="_blank" rel="noopener">Old Traditions, New Meanings,</a> Rishi Amatya<a href="https://www.nepalitimes.com/here-now/kathmandu-is-stage-for-chekovs-three-sisters/" target="_blank" rel="noopener">Kathmandu is a stage for Chekhov's Three sisters,</a> Raisa Pande<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/play-review-a-midsummer-nights-sapana,2958" target="_blank" rel="noopener">A midsummer night's sapana,</a> Sahina Shrestha

Drama in real life

<img width="960" height="639" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107111152/6368e4159c7e80680e0333bbjpeg.jpg" alt=""/>Nepal’s theatre business is not doing well financially, but you would not be able to tell here in the alleys of Teku, home to Kausi Theatre and the drama group Katha Ghera. Despite being hard up, new theatres are rolling out productions thick and fast. It all started with Aarohan Gurukul, established by actor-director Sunil Pokharel three decades ago, which later became the first private theatre to stage plays with multiple performances. Besides Kausi, Kunja Theatre and Purano Ghar have recently sprung up in Kathmandu, and there are more than 150 theatre groups across the country including theatre halls in Jhapa, Pokhara and Morang. Three drama groups are building theatres in Pokhara alone, and many institutes like Actor’s Studio and Shilpee in Kathmandu <a href="http://archive.nepalitimes.com/news.php?id=1140#.WzSDLdUza70" target="_blank" rel="noopener">conduct classes</a>.  <figure><img width="3456" height="4608" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107111152/6368e4189c7e80680e0333bcjpeg.jpg" alt=""><figcaption> </figcaption></figure>Kathmandu hosts frequent theatre festivals: this month Nepal Academy’s Rang Utsav honoured 13th century Maithili playwright Jyotirishwar and Shilpee Theatre held its Tamang Drama Festival. Former theatre artists like Min Bahadur Bham, Dayahang Rai, Khagendra Lamichhane, Menuka Pradhan and Saugat Malla have even migrated from the stage to screen, starring in Nepali films. “It is good to see so many youngsters in theatre who understand film, music, art, and even the connection between space and performance,” says senior playwright Abhi Subedi. “Their interest seems to be in re-interpreting history and depicting the inequalities and cruelties in society.”Recent plays like Court Martial questioned the caste system and hierarchy in the military. Harjeet reinterpreted a classic story from a woman protagonist’s perspective, Daraundi ko Pani imagined the life of Lakhan Thapa and Manakamana Devi, Bhrikuti portrayed Nepal’s famous princess who was married in Tibet, Ani Deurali Runcha depicted feudal oppression and forced migration, Jayamaya Afumatrai Lekhapani Aipugi enacted the journey of Burmese Nepalis fleeing World War II.   <figure><img width="960" height="639" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107111152/6368e41b9c7e80680e0333bdjpeg.jpg" alt=""><figcaption> </figcaption></figure>Nepali theatre has come of age, with plays that ask probing questions about social injustice, discrimination, and modern ethical dilemmas. Jiundo Akash portrays a transgender person, the adaptation of Vagina Monologues brought the private lives of women into the public sphere, while 30 Days of September sensitively tackled child abuse. Despite these vibrant themes, however, Nepali theatre still struggles with originality. Few of the plays are new, and directors seem to prefer <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/play-review-a-midsummer-nights-sapana,2958" target="_blank" rel="noopener">Shakespeare</a>, Moliere, Tagore, or even Lu Sun to home-grown dramas. There is a general lack of technical knowledge of stage production.“Nepali theatre lacks research, which is impeding its growth,“ explains pioneer theatre artist <a href="http://archive.nepalitimes.com/news.php?id=16216#.WzSF59Uza71" target="_blank" rel="noopener">Sunil Pokharel</a> of Aarohan Gurukul. “Different ethnic groups have diverse performance cultures in Nepal, we need to mine these cultures so that we can produce more original, Nepali-style plays.”Strong folk performance cultures are evident in Janakpur, where Mithila Natyakala Parishad, one of the oldest theatre groups still active, draws from folk traditions and attracts big audiences to every performance. But it struggles with not having its own home stage.  <img width="960" height="639" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107111152/6368e41e9c7e80680e0333bejpeg.jpg" alt="">Gurukul was one of the first to have its own theatre, but the hall was destroyed in 2012, followed by the closing of <a href="https://theatrevillage.org/" target="_blank" rel="noopener">Theatre Village</a> in 2016 and Theatre Mall in 2017. At ticket prices of Rs100-500, the income just does not justify the expensive land theatres are housed on.Except for groups like Sarwanam, which has its own space, theatres rent and have to constantly worry about their future – which doesn’t do much for creativity. Dozens of groups have to take turns staging plays in the six or so threatres. Sunil Pokharel limits himself to just two plays a year because of space constraints. “Theatre’s main problem today is that it lacks institutional support,” says Abhi Subedi. “There is no degree course on theatre in Nepal’s universities, and little government financial support to produce plays.” Pokharel says corporate sponsorship would do the trick and make up for the shortfall in ticket revenue, but there isn’t much of that.  Despite difficulties, artists find Nepal’s close, intimate theatres, where the audience can hear the performers breathe on stage very impactful. Says Pokharel: “There is no such thing as enough money, in any profession. And if you think you want to take to the stage, you have to be prepared to survive the harsh reality of theatre.”Read also:<a href="http://archive.nepalitimes.com/news.php?id=1140#.WzSDLdUza70" target="_blank" rel="noopener">Real life drama</a>, Abha Eli Phoboo<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Bhagvad-Gita-as-opera,3236" target="_blank" rel="noopener">Bhagvad Gita as opera</a>, Smriti Basnet<a href="http://archive.nepalitimes.com/news.php?id=16216#.WzSF59Uza71" target="_blank" rel="noopener">The theatre of life</a>, CK Lal<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/play-review-a-midsummer-nights-sapana,2958" target="_blank" rel="noopener">A Midsummer Night's Sapana</a>, Sahina Shrestha

All the men and women merely players

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221104141136/6365158d9c7e80680e02c1c7jpeg.jpg" alt="" width="1400" height="818"/><figcaption>Photos: Bikram Rai</figcaption></figure>"Life won’t change. It’ll still be happy and hard and mysterious”, says a character early on in the play in response to a philosophical discussion after a few drinks. A telling line that speaks in a universal voice, and one that is likely to grasp the attention of the audience in this adaptation of Anton Chekov’s famous work Three Sisters.What relevance can a play written nearly 120 years ago in Russia have in present day Kathmandu? Possibly it is the theme of universal humanity, and this is what director Rose Schwietz underscores in her adaptation of Three Sisters .The play revolves around the lives of a family lost in the past, reminiscing glorious yesteryears. Set in a small town in Russia, sisters Olga, Masha, Irina, and their brother Andrei are in a nostalgic limbo. They endure the drudgery of life, hoping to some day return back to Moscow where they grew up. They miss its vitality and charm.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221104141136/636515919c7e80680e02c1c8jpeg.jpg" alt="" width="1400" height="933">The play’s timeline spans a couple of years, giving us enough time to examine significant changes in each of the characters. What starts as a joyous celebration of life and memories quickly changes with the choices the characters make.Andrei’s decision to get married affects the dynamics with his sisters. Olga sees herself slowly succumbing to a life she isn’t too fond of, Masha feels trapped in a loveless marriage and makes a life-altering choice, while Irina who works in the local telegraph office looks forward to a life of exuberant bliss.As all of this unfolds, tragedy awaits. But it is not the tragedy that is the most telling detail of this version of Three Sisters. Over the last century, each director has made creative choices that have shaped the narrative. In Kathmandu, Schwietz makes what initially seems like a minor change in the plot but which shapes a dynamic outcome in the play -- especially regarding a secret that Masha holds on to before disclosing it to her sisters towards the end.The cast gives a riveting performance that is complimented by the compact setting of the theatre. This Russian family saga becomes both a personal experience and a collective challenge which the audience is made to confront head-on. The characters move from euphoria to dismissiveness to finally accepting their fate and the tragedy that has befallen them. It is a roller coaster of emotions.Despite its grim ending, the passion that is played out on stage is reason enough to keep coming back for this captivating depiction of 19th century Russia in Kathmandu’s alleyways.One World Theatre Production  5.15pm, 9-19 March, Kunja Theatre, Thapagaun (except Mondays)

Kathmandu is stage for Chekov’s Three Sisters

Architecture can be a powerful agent of change, shaping not just spaces but the way people live, connect, and experience the world.&nbsp; For Nepal, which is <a href="https://nepalitimes.com/banner/natures-fragile-gift-to-nepal">gifted by nature</a> and rich in <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/ambassador-fund-cultural-preservation-nepal,2092">cultural heritage</a>, &nbsp;reviving rural architecture with modern amenities could hold the key to more <a href="https://nepalitimes.com/here-now/what-sustainable-tourism-means-in-practice">sustainable tourism </a>that benefits local people more. “<a href="https://nepalitimes.com/banner/bayalpata-hospital-in-nepal-wins-global-design-award">Design and architecture</a> are amazing tools to create a unique experience for visitors,” says Spanish architect Tomeu Esteva of Esteva i Esteva Architecture Studio. “Difficult destinations have beautiful hotels with design and comfort.” Esteva was in Kathmandu with his colleagues at an event organised by the Spanish Honorary Consulate at Dwarika’s Hotel last week to showcase buildings which Nepali architects can adapt with local material and design inputs.&nbsp; Rural architecture holds a unique significance: it is more than a shelter and must reflect <a href="https://nepalitimes.com/here-now/inking-an-idenity">local identity, culture</a> and <a href="https://nepalitimes.com/here-now/saving-humla-from-heritage-loss">heritage</a>. An area’s natural and cultural harmony can be upset by <a href="https://nepalitimes.com/here-now/protecting-protected-areas-from-infrastructure?fbclid=IwAR1wK0MDFlFST_2EYb3f54LS4-fPt6rYfLG1DJ1JaQsU3w8-ezyXIxGOqzk">poorly planned development</a>, speakers at the event said, but the environment can be improved and revitalised by well-integrated structures.&nbsp; Another Spanish architect, Belen Moneo, has designed hotels at elevations of 3,700m in her home country Spain that supply natural spring water spas. “<a href="https://nepalitimes.com/banner/lost-in-reconstruction">Creativity in construction</a> must be encouraged. Rural architecture always shows possibilities of what we can do better,” Moneo explains, adding that designs must enhance <a href="https://nepalitimes.com/opinion/the-healing-power-of-nature">the beauty of nature</a> and give a natural feel at a time when steel, glass and cement dominate <a href="https://nepalitimes.com/here-now/rebuilding-kathmandu-after-the-1934-quake">urban design</a>.&nbsp; This is why the <a href="https://nepalitimes.com/here-now/weaving-nature-into-craft">use of natural products</a> such as bamboo, local timber, straw and rammed earth are in demand from customers who want a fresh eco-friendly look encouraged in construction of rural architectural structures. The demand for boutique hotels has increased world over, with &nbsp;more and more tourists favouring aesthetics, experience and comfort over price. While creativity is an important part of <a href="https://nepalitimes.com/here-now/architecture-for-mountains">construction and architecture</a>, incentives to build and use <a href="https://archive.nepalitimes.com/article/nation/Building,370">rural construction materials</a> still remain minimal, and Moneo emphasises the significance of design and execution.&nbsp; Esteva helped design the Vana Retreat in Dehradun that kept the natural environment in focus, with the structure giving an elaborate aesthetic experience to visitors. Another example is Hotel Las Mercedes in the Dominican Republic which was designed and constructed by Moneo and the company she co-founded Moneo Brock, respecting and revaluing the traditional architecture of the area. Hotels providing such experience could attract tourists and revenue. The Spanish ambassador to Nepal Juan Antonio March Pujol said, “The role of architecture and architects in developing tourism is crucial, not only in urban areas but rural settings as well.”&nbsp; The concept of rural boutique hotels gained traction in Spain during the 1990s, particularly in regions like Majorca with economic and environmental sustainability as the main focus. In Nepal <a href="https://nepalitimes.com/opinion/12-full-opinion/guiding-nepal-s-tourism-industry">the tourism industry</a> directly employs about 1 million people, and makes up about 8% of the country’s GDP. In Nepal, the stone homes of <a href="https://nepalitimes.com/news/reviving-himalayan-vulture-and-culture">Mustang and Manang</a>, bamboo and mud structures of <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">the Tarai</a>, and the Kathmandu Valley’s terra cotta tile skylines, graceful temples, and tranquil bahal courtyards are all examples of <a href="https://nepalitimes.com/here-now/nepal-s-traditional-seismic-resistant-designs">Nepal’s traditional architecture</a>.&nbsp; Nepali architect Sarosh Pradhan has been working for the past eight years on the Brakka Village project in Manang Valley north of <a href="https://nepalitimes.com/banner/municipalities-want-to-manage-annapurna">the Annapurnas</a>. Other examples of this kind of rural architecture for high-end tourism are the Shinta Mani Hotel in Mustang and Khumbu Lodge below <a href="https://nepalitimes.com/news/mt-everest-pvt-ltd">Mt Everest</a>. Says Pradhan, “There are places in Nepal that radiate purity and embrace simplicity. Creating projects in such settings require deep reflection and thoughtful planning.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f.jpg" data-media-id="editor_19" data-image-id="20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f" data-rendition-name="original" width="4608" height="2184" loading="lazy" alt="A new architecture for Nepal's tourism"> </figure>  Rural architecture is not easy, and sometimes more expensive. Inflation, energy efficiency, <a href="https://nepalitimes.com/here-now/those-who-stay">the climate crisis</a>, and <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">increased costs of living</a> pose obstacles to sustainable rural architecture. Read also: <a href="https://nepalitimes.com/here-now/forgotten-international-starchitects-in-nepal">Forgotten international starchitects in Nepal</a>, Anne Feenstra and Varun S Bapu Esteva says faith and trust between client and architect is necessary for any project to be successful. He adds that architects must practice being humble, the process of designing always involves learning and not imposing their ideas on clients. Nepal is uniquely positioned for the growth of <a href="https://nepalitimes.com/banner/hiking-up-the-benefits-of-tourism">rural tourism</a> because of its stunning countryside as well as its internationally renowned traditions in holistic wellness. Creating infrastructure that is small, thoughtfully planned and that respects both tradition and contemporary hospitality standards is crucial. “Projects in Nepal can be made cost effective by using materials from houses that have been brought down,” says Esteva. “Pilot projects involving <a href="https://nepalitimes.com/banner/local-government-by-the-people-for-the-people-of-the-people">local people </a>and simple designing also helps the process.” <a href="https://nepalitimes.com/banner/vacant-homes-become-homestays-in-nepal">The growth of homestays in Nepal</a> is a step in the right direction, but they are still a bit too rustic for the international traveller who also wants comfort and is willing to pay extra for it. Upgrading the facilities in homestays and ensuring that the <a href="https://nepalitimes.com/here-now/an-archive-of-nepali-heritage">architectural heritage</a> of the locality is preserved using locally sourced building material could allow owners to charge more. Says Sangita Shrestha of Dwarika’s Hotel, “Our effort is to build upon rural architecture by empowering local communities and using what is available locally. We can fine tune and encourage indigenous design and training.” The vision goes beyond just boosting the economy, it is about building a future where tourism helps villages grow in a healthy and lasting way. Instead of using up resources, it gives back to the land and the people. It supports local communities by<a href="https://nepalitimes.com/opinion/staying-in-nepal-to-create-jobs"> creating jobs</a>, improving infrastructure, and protecting natural beauty. When done right, tourism can be a tool for <a href="https://nepalitimes.com/editorial/progress-and-or-preservation">preserving culture and nature</a>, not harming them. Architects must therefore see their work as more than just designing buildings, they also need to care deeply about people and places, especially in rural areas that can benefit the most.&nbsp; With global interest in sustainable and off-the-beaten-path travel increasing, Nepal stands at the cusp of a <a href="https://nepalitimes.com/news/missing-out-on-nepal-s-tourism-potential">tourism transformation</a> that values community-driven, eco-conscious hospitality. A mix of modern ideas and traditional knowledge could transform rural tourism in Nepal. Says Shrestha, “Young architects should spend time with <a href="https://nepalitimes.com/latest/the-unsung-heroes-of-conservation">local and indigenous communities</a>, listen to their stories, and learn from their <a href="https://nepalitimes.com/banner/life-and-livelihood-in-remote-nepal">ways of living</a>. These communities have deep knowledge about the land, materials, and climate. If this wisdom is used in new designs, it can help create tourism spaces that truly benefit everyone.” &nbsp;

A new architecture for Nepal's tourism

Extract from an addendum to Nepal's Two Wars, Chapter 2 in the updated edition of Essays on Nepal: Past and Present by Sam Cowan, a retired British Army general with a long association with the Gurkhas. The book was first published in 2018, and republished earlier this month by FinePrint exclusively on Amazon. The addendum details a one-to-one conversation the author had in the <a href="https://archive.nepalitimes.com/news.php?id=8884">Royal Palace </a>with the <a href="https://archive.nepalitimes.com/news.php?id=8371">King Gyanendra</a> in November 2002 just after he had taken his initial steps on the road that ultimately led to <a href="https://archive.nepalitimes.com/news.php?id=14681">the abolition of the monarchy</a> in Nepal in 2008. In the early evening of September 16, 2002, in my role as Colonel Commandant of the Brigade of Gurkhas, I had my second and last official audience with King Gyanendra to give him an update on the Brigade’s activities over the previous 12 months. I had some 6 or 7 such audiences with <a href="https://nepalitimes.com/here-now/preserving-king-birendra-s-family-home">King Birendra</a>.&nbsp; These were official affairs with the British ambassador of the day present, along with key <a href="https://archive.nepalitimes.com/news.php?id=12233">palace officials</a> and a representative from Nepal's Foreign Ministry. The two monarchs were very different in character and temperament, but both treated me with the utmost civility and made the audiences as relaxed and easy for me as possible.&nbsp; It is, however, worth recording that when the official business had been covered, King Birendra, with a twinkle in his eye, often ended by asking, “Now General, what’s the gossip in London?” The second audience with <a href="https://archive.nepalitimes.com/news.php?id=8026">King Gyanendra </a>was my last official act in uniform. We came back to Kathmandu in the first week of November (after treks) to stay for a few nights with our Defence Attaché before heading back to the UK. Waiting for me was a message from the Palace saying that King Gyanendra would like to meet me informally: <a href="https://archive.nepalitimes.com/news.php?id=6933">no uniform</a> and no ambassador.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750.jpg" data-media-id="editor_7" data-image-id="20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750" data-rendition-name="original" width="1750" height="2406" loading="lazy" alt="Gyanendra crowned page 1"> <figcaption>Nepali Times Special Edition of 6-14 June 2001 with enthronement of Gyanendra. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2.jpg" data-media-id="editor_8" data-image-id="20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2" data-rendition-name="original" width="1500" height="1857" loading="lazy" alt="Royal massacre"> <figcaption>Nepali Times 22-29 June 2001 covering the royal massacre after which Gyanendra became king. </figcaption> </figure>  Although I had no idea what the purpose of the meeting might be, events in Kathmandu since I last saw the king put me on edge. On October 4, 2002, Gyanendra had dismissed Prime Minister Sher Bahadur Deuba, allegedly for failing to hold <a href="https://nepalitimes.com/news/what-goes-on-in-nepal-s-elections">elections</a>. He had put in place a new prime minister and a cabinet personally selected by him. When I heard the news on my travels, the people I met were generally supportive of the king’s actions. There was a general view that something had to be done, the country was going nowhere, and the king deserved his chance, not least to solve<a href="https://nepalitimes.com/latest/14-years-after-conflict-no-closure-in-nepal"> the Maoist </a>problem. Back in Kathmandu, views were not so sanguine. The chosen prime minister, Lokendra Bahadur Chand, was a relic from <a href="https://nepalitimes.com/here-now/mob-movement-and-mayhem">the Panchayat period</a> whose party had failed to win a single seat in the last elections held in 1999. Some of the chosen cabinet ministers had, to put it mildly, dubious reputations, and others had no record of proven competence in any field. There was a fear that the king’s real motive in dismissing <a href="https://nepalitimes.com/editorial/deubas-denouement">Deuba</a> was to start to reverse the democratic gains made since 1990. I informed <a href="https://nepalitimes.com/news/nepal-britain-mark-centenary-of-1923-treaty">the British ambassador</a> about the invitation. He was strongly against accepting it, which was probably the clinching reason for my decision to do the polite thing and accept it. On the evening of November 7, 2002, I presented myself at the royal palace, alone and in civilian attire.&nbsp; As in the past, the Military Secretary, Major General Vivek Shah, met and escorted me into the presence of the monarch. This time, however, he was politely asked to leave the room and shut the door behind him. King Gyanendra greeted me warmly and invited me to sit down.&nbsp; Read also:<a href="https://nepalitimes.com/news/the-ghost-of-monarchy-returns-to-haunt-nepal"> The ghost of monarchy returns to haunt Nepal</a>, Shristi Karki  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558.jpg" data-media-id="editor_15" data-image-id="20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558" data-rendition-name="original" width="1000" height="993" loading="lazy" alt="Gyanendra coup"> <figcaption>Nepali Times 4-10 February 2005 after king Gyanendra's coup imposed media censorship. anendra became king. </figcaption> </figure>  I had wondered, and to be truthful, had worried, not just about the purpose of the meeting, but about how the conversation might start and develop. I reduced my resolve to two points: be polite but speak candidly. The latter resolve was quickly put to the test with the king’s opening words: “Sam, [in previous meetings it had been ‘General’, you walk the highways and byways of this land more than most, tell me what the common man is thinking?” &nbsp;“Your Majesty, I have no idea what they are thinking, but they are waiting.” “Waiting?” “Yes, Your Majesty, they are waiting to see whether what you did some weeks ago in appointing your own prime minister and cabinet ministers is going to make any difference to their lives or whether it is just going to be more Kathmandu hot air.” “Everything is going to be difficult and is going to take time, a lot of time.” “Your Majesty, time is the one thing you don’t have. You must act quickly and decisively to take advantage of the opportunity you have created. Everyone knows that you have appointed these new ministers. Why don’t you get them in here one by one and tell them that they have three months to deliver a programme in their area of responsibility that is going to make a difference to people’s lives? Most will fail to do so. Sack them! It will be a powerful signal of your strong intent to deliver real change.” I can express the opening of our conversation in this way because just about every word is still etched in my mind. The king’s response to my last quoted words was to challenge me to give an example of something that could be delivered quickly. I can give a verbatim record of what I said in response to this unexpected challenge: “Health posts, Your Majesty, there is no shortage of them throughout the country as building them has been one of the sources of local corruption, but very few have any medicine to issue at present or have skilled people to assess and meet medical needs. Your Majesty, children are dying for lack of a few pills. Given the right priority, over a period, say of six months, every health post could be fully stocked with medicine and manned with trained people. This is something I could help to lead for you as I know it would have strong international backing. At last, people would know that you mean business.” As I warmed to the theme, I could see no sign of the king having any enthusiasm for the idea, and I quickly disengaged as it dawned on me, as it had clearly dawned on the king, that the reason for the deficiencies in health posts was to prevent any Maoist combatant from gaining access to any <a href="https://nepalitimes.com/opinion/tech-away/nepal-s-health-tech-industry-is-here-to-stay">medical support</a>, and if this meant people suffering, so be it. The subject of the Maoist insurgency inevitably came up, and I took the opportunity to elaborate on what is written in the final four paragraphs of the article above. I advised King Gyanendra that, self-evidently, since there were three parties in the conflict—him, the Maoists, and the political parties—it was imperative that he form an alliance with one of them, preferably the political parties; otherwise, he would find himself isolated, as the other two parties would inevitably, at some stage, form their own alliance. However, it quickly became apparent that the king’s mind was on a totally different track. On the Maoists, he told me that he had channels open to them, but he was scathing about the political party leaders. He made it clear that they would be waiting for a very long time before he gave any power back to them, and that is a polite way of expressing the actual words he used, but “crawling through the door” is a phrase which has stuck in my mind.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5.jpg" data-media-id="editor_17" data-image-id="20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5" data-rendition-name="original" width="2000" height="1317" loading="lazy" alt="fall of monarchy"> <figcaption>Nepali Times 28 April-3 May 2005 with cover image by Ajay Joshi of jubilant protesters after street demonstrations sidelined king Gyanendra, paving the way for a ceasfire and restoration of democracy. </figcaption> </figure>  As the conversation developed, it became ever clearer that King Gyanendra had decided to go in alone, relying on the misleading assurances he was constantly receiving from <a href="https://archive.nepalitimes.com/news.php?id=14954">the army</a>, and no doubt his close advisers, that the Maoists could and would be quickly defeated militarily, and taken out of the equation. This would obviate the need for him to do any deal with the political parties.&nbsp; Thus, the way would be clear for him to establish a version of his father’s Panchayat system, under a constitution that would be granted to the people by him, their sovereign, as his father and brother had done in 1962 and 1990. As in those constitutions, ultimate power would have remained in the sovereign’s hands. This proposed direction of travel was very clear from what the king said to me. In sum, King Gyanendra was motivated by a desire to emulate his immediate predecessors by granting his people a constitution that would restore his father’s Panchayat system in a modern form and give him a central role in decision-making. What was particularly dispiriting was that beyond this single objective he had no plan worthy of the name, nor demonstrably did he have the people with the skills to implement an appropriate plan even if one had existed. Crucially and depressingly, there was little or no indication from the king that he realised that such a course of action could put Nepal’s monarchy into serious jeopardy, as indeed proved to be the case. <h2>King Twice</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445.jpg" data-media-id="editor_19" data-image-id="20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445" data-rendition-name="original" width="1302" height="632" loading="lazy" alt="“Tell me what the common man is thinking!”"> </figure>  <a href="https://archive.nepalitimes.com/news.php?id=8371">Gyanendra Bir Bikram Shah has been king twice</a>. In 1950 he was enthroned briefly as a child king (left, above) by the Rana Prime Minister Mohan Shumsher when his grandfather, King Tribhuvan, fled to exile in India. In 2001 he was crowned king again after the massacre in the royal palace in which his brother King Birendra and nine other members of his family were killed by Crown Prince Dipendra.&nbsp; During his second reign, Gyanendra gradually asserted power by sacking Prime Minister Sher Bahadur Deuba in 2002, and then taking full control after the 1 February 2005 coup. He was sidelined after the ceasefire in April 2006, and became a commoner after the Constituent Assembly finally <a href="https://archive.nepalitimes.com/article/from-nepali-press/Ftnp-abolishing,624">abolished the monarchy in 2008</a>. In the past year, Gyanendra has tried to exploit public dissatisfaction with the political parties to restore the monarchy.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788.jpg" data-media-id="editor_22" data-image-id="20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Essays on Nepal by Sam Cowen"> </figure>

“Tell me what the common man is thinking!”

“It's Kathmandu.” Just as the family was sitting down for one of its extended lunches, that jubilant cry was from François Driard’s grandfather announcing the next posting for his diplomat parents.&nbsp; Driard (pictured) was 18 in the summer of 1996,<a href="https://nepalitimes.com/opinion/suburban-tales/chasing-a-nomad"> a bit of a hippie</a> already, and his life was about to change forever with the magical word “<a href="https://nepalitimes.com/banner/time-capsule-of-kathmandu">Kathmandu</a>”. “I was awed with that information from my grandfather, nothing else mattered … In France <a href="https://nepalitimes.com/here-now/tales-of-courage-and-suffering-cx95f89e">in the 1990s</a>, Kathmandu had a mythical aura,” Driard recalls. He came to Kathmandu for Christmas that year to visit his stepfather, the French Ambassador Michel Lummaux. It was to be the first of many visits during school holidays, before he decided to permanently settle down in Nepal. “Kathmandu, and Nepal, were very different then, it was magical, I liked the nature, the people, civilisation, temples, trees,” says Driard, who explored the country sitting on the top of buses. “Visitors talk about the crazy <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">urbanisation</a>, traffic jams today, and all that is true. But Kathmandu has not <a href="https://nepalitimes.com/here-now/loss-of-soul-and-soil">lost its soul</a>.” After his stepfather’s tenure in Nepal ended, Driard worked as a business reporter for international publications but decided he did not want to be anyone’s employee anymore. In 2007 he landed in Kathmandu with €20,000 in savings to invest.&nbsp; He knew a few crucial things about himself: he liked food and nature, which is very much tied up with his upbringing--full of lively conversations during lunch and dinner at the family table between <a href="https://nepalitimes.com/here-now/nepals-yak-cheese-is-on-world-map">abundant cheese, wine and cigars</a>. So he decided it would be cheese, and registered Himalayan French Cheese and went to the French Alps for a month to learn how to make Tomme de Savoie. “<a href="https://nepalitimes.com/banner/the-story-of-langtang-cheese">Cheese making is such an ancient craft </a>and so I thought I won’t need much money or studying which I hated and indeed, if you have a tamako bhado and fire you are set,” explains Driard. But Nepal’s temperature and humidity were not ideal, even at higher altitudes. The first customers for his cheese were the Hyatt Regency and Nina and Hager. But he needed to create a market for cheese in a country which only knew hard churpi in the north and soft paneer in the south. He started selling his cheeses at the Summit Hotel weekend market, expanding to his own 1905 Farmer’s Market which later moved to Le Sherpa in Maharajganj, where it is now, and also a market at Labim Mall in Pulchok. He had cow dairies in Nuwakot and Dhulikhel, and finally a yak cheese unit at 3,379m in Ramechhap. It was the yak blue cheese from here that went on to win a Gold Medal in France, putting Nepal’s French cheese on the world map. “People come and try our cheese at the market, they ask questions. There is a lot of education to be done about cheese,” adds Driard, who also has three cheese shops in the Valley. Driard now makes 25 types of cheese. The products are being noticed and every year he has French students coming to Nepal to learn the art of yak cheese making. “In France, one family or company makes one kind of cheese for generations. In that I’m very unique as a cheese artisan,” he says. “The students come in to learn but I tell them to also teach us something too, add another cheese to my collection.” Read also: <a href="https://nepalitimes.com/here-now/langtang-after-10-years">Langtang after 10 years</a>, Sonia Awale Being a foodie, Driard is now also dabbling in meat with his own charcuterie at Meatini with bacon, ham, sausage and pâtés. All of this is now served at his Emilio’s Pizza, a leafy hideaway in Lazimpat. His South Side in Moksh is probably the smallest wine bar in the world. “I call the process sublime,” says Driard of his ventures, which have grown organically. “You need the same temperature and humidity of 12°C and 80% for cheese, meat and wine.” Emilio’s speciality is the eight-cheese pizza (which has eight types of cheeses), and a pizza with bhutan topping (not the country but fried intestines and organs Nepali-style). He has opened a small branch at Courtyard in Pokhara.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3.jpg" data-media-id="editor_8" data-image-id="20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="8 cheese pizza"> <figcaption>Eight-cheese pizza</figcaption> </figure>  With two artisanal cheese units, two farmers’ markets, a <a href="https://nepalitimes.com/here-now/the-meat-of-the-story">meat processing unit</a>, a bakery, and wine bar he now envisions a vineyard so he can add Nepali wine to his repertoire. Another future plan is to start up an agri-tourism business where customers can drink, eat and work in peace. In the past 20 years in Nepal, Driard has not always succeeded in his ventures but this hasn’t curbed his enthusiasm. He is learning as he goes, and like an old wine, Nepal is growing on him. Its slowness suits his French art de vivre with eating slowly outdoors, having conversation, importing less.&nbsp; “I have proven that with even a little money you can do a lot of things in Nepal,” adds Driard. “In the West, they easily invest half a million euros on a cheese factory, I invested 10 times less.”&nbsp;

Fromage, vin et charcuterie Népalais

Bhuthan भुठान starts with Bishnu Bahadur KC played by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/dhuwa-smoke-telefilm,2671">Hari Bansha Acharya</a> on a call, requesting to speak to the visa officer. By this point, he had <a href="https://nepalitimes.com/here-now/nepal-should-now-allow-visa-on-arrival">applied for a visa </a>to Bhutan 10 times, but was denied each time. KC was a <a href="https://nepalitimes.com/here-now/nepal-s-women-excel-in-sports-in-2024-z9ramyct">national football player </a>in Bhutan in 1988 before he and other Nepali-speaking Lhotsampa people were forced out of the country in the 1990s as part of the Druk regime’s ‘One Nation One People’ campaign. Over 100,000 Bhutanese Nepalis were forced out, driven across India and dumped in Nepal where they lived in seven<a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp"> refugee camps</a> supervised by the United Nations and other charities until they were resettled in the United States, Australia, New Zealand and some European countries starting in 2007. In the fictional movie with the satirical English title The World’s Happiest Man, KC has resettled in the state of Ohio in the US but wishes to visit his home country once before he dies. Between flashbacks, we learn KC has died without having fulfilled his wish. &nbsp; The drama then focuses on KC’s two families from two marriages as they debate whether to cremate him as per <a href="https://archive.nepalitimes.com/article/from-nepali-press/muslim-hindu,2996">Hindu rites </a>or give him a Christian burial. A mediator played by Hollywood actor Bruce Dern urges them to take a firm decision before it is too long.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3.jpg" data-media-id="editor_5" data-image-id="20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3" data-rendition-name="original" width="945" height="945" loading="lazy" alt="Bhutan, the movie"> </figure>  There are drawn out scenes of KC being baptised and when he is confronted by his first wife from Darjeeling played by Anuradha Majumdar, he says he changed his religion in the hope that he will be <a href="https://nepalitimes.com/opinion/comment/bhutan-s-refugees-between-hope-and-despair">allowed back in Bhutan</a>.&nbsp; We find out KC has a second wife, a Christian Nepali played by Puja Chand. Dayahang Rai as the younger son doesn’t have much screen time to flex his acting chops. &nbsp; Acharya competently portrays a man that is equal parts haunted by the memories of and longing for his home country. KC’s pain and loss is acute when he is teaching football to Gungun but between mid-scene, he freezes, perhaps lost in memories of being in Bhutan’s national team. &nbsp; In another scene, KC recalls his mother singing a lullaby in Dzongkha. He also has a box filled with medals, photographs and a football which he deflates with a knife in a powerful depiction of his <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home?fb_comment_id=1506516030025634">complicated emotions about his homeland</a>. KC keeps checking his mailbox in the hopes that his <a href="https://archive.nepalitimes.com/news.php?id=4977">visa application</a> has been accepted. He says in Nepali: “If a tree that has already struck roots in one place is shifted to another, it will not survive.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34.jpg" data-media-id="editor_9" data-image-id="20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34" data-rendition-name="original" width="1422" height="2048" loading="lazy" alt="Bhutan, the movie"> </figure>  Dern’s character says that the <a href="https://nepalitimes.com/opinion/comment/nepal-s-transitional-justice-and-the-west-s-recalibration">western world</a> has become “lonely in pursuit of happiness”, another reference to Bhutan’s obsession with its Gross National Happiness index. Scenes shift quickly throughout making the story difficult to follow at times. The use of symbolism is a trite overdone. Nonetheless, भुठान is a nuanced depiction of raw pain and agony of losing one’s homeland. But one cannot help but leave the theatre feeling deflated. KC dies without having visited <a href="https://nepalitimes.com/here-now/small-bhutan-dreams-big">Bhutan</a>, but perhaps he does in his afterlife. It is up to the audience to create its own ending to this sad story of exile. भुठान Mad Monkey Films, 2025 Directed by Binod Paudel 102 minutes In cinemas in Nepal

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