KATHMANDU, June 28: There is a play on show in town and it is gaining traction for all the right reasons. Hatya: An artistic crime, currently playing at Mandala Theatre, opens with the grisly depiction of a murder scene: the dusky light smoothly swells in its intensity and reveals a character struggling for life as two other characters strangle him with a white rope. The whole play rotates around the murder of this character, Diwas, the son of an established intellect.
The play, rich in its subtle humor, takes one into a philosophical journey on ethics. Does one have a right to decide who is inferior and who is superior in our society? Can one, simply based on this judgement, murder the person who he deems to be inferior?
The actors bring this difficult play to life with their charismatic talent. The collective effort of the cast and crew uplifts the story wherever the director falls short in measuring the tone and tempo of the story.
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The depth as well as penetrating humor of Chaitanya sir (played by Nikesh Acharya) in the play, along with his grounded meditation on ethics towards the end, sets the tone towards the resolution of the ethical dilemma erected at the start of the play: that murder can never be justified. Acharya’s timid movements, opportune interjections during dialogue exchange and suggestive eye movements succeeds in reflecting the reality of a keen philosophical teacher in modern society.
There is a certain malice in the character of Bishal and actor Sagar Tamang’s eye theatrics succeeds beautifully in showcasing that character. The character of Puspha, as complexly disturbed written as he is, demands a range of shakinnes in his voice to capture his inner tumult. Bikrant Regmi’s subtle jitters in action and trembles in voice brings the character closer to the audience.
Besides the talents of the actors, the lightning effect and the sound effect does a great job at engaging the audience. The hues of blue and red contrasted against the dark theme and perforating light from the window could compare with the drams in Carravagio’s Baroque works of art.
Be it the perforating lights from the prop window or the lack of a glass in the mirror, the screaming sketch on the wall, or the chessboard on a rack, the props deal polished touches to each scene as it unfolds.
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