This
is the opening scene of Mandala Theatre’s ongoing play ‘Hiu Bhanda Chiso’
(Colder Than Snow). Directed by Som Nath Khanal and translated by Namrata KC,
the stage hosts just three characters: Bholaraj Sapkota as the doctor, Renu
Nath Yogi as the wife Navarati and Govinda Sunar as Gopi.
An
adaptation of actor/writer Saurabh Shukla’s Hindi language play ‘Barff,’ the
play takes place over the span of a single night, morphing elements of social
realism with psychological thriller. The end result is a whirlwind of
escalations that’ll leave you on the edge of your seat.
Siddant, an easy-going urbanite, decides to visit Gopi’s house as he learns
that his child is unwell. We soon realise that he’s going there despite Gopi’s
multiple attempts to dissuade him arguing that his wife tends to exaggerate
things and that his son is doing fine.
There’s
something unsaid in these attempts. However, Siddhant, blinded by his attempt
to do good, is unaware of the subtle worry behind the sweetness in Gopi’s
voice.
The
play is a masterclass in foreshadowing. Gopi’s constant ‘Let’s go backs’ hint
that something sinister is at play, but they never spill out more than they
should. So, as they walk towards the village through a thick jungle, you don’t
know what’s coming.
As
we arrive at Gopi’s little house, dadyaas
or mastos (clan deities of the
Khas-Arya communities) are hung around the cottage their large faces with
sunken cheeks and uncanny eyes adding to the mystery.
Siddant soon realises that nothing is like what it seems. However, it is too late to go back. A series of events unfold involving a broken Chinese doll, the soul of a girl that hung herself at a nearby tree, and a car key hidden by Navrati, all accumulating into a truly terrifying ‘Get Out-esque’ situation.
The
play reminded me of films by Ari Aster (‘Hereditary,’ ‘Midsommar’ and ‘Beau is
Afraid’), as it managed to create a deep sense of discomfort and impending
doom without the use of overt jumpscares or cliche psychological horror tropes.
As
the play progresses, the couple’s warm hospitality transforms into animosity,
sometimes even resulting in violence. However, it is important to note that
Gopi and Navrati aren’t your usual antagonists. They aren’t one-dimensionally
evil, rather, they are products of isolation, dejection and, in the case of
Navrati, a serious case of psychosis.
As a method of survival, Siddant is forced to abandon his sense
of reality and truth. Sapkota achieves this with his dry wit—making the
audience laugh and worry simultaneously.
The
performances by all three actors on stage are what makes the play compelling.
Sunar, as Gopi, strikes the perfect balance between wanting to help Siddant
while also reinforcing the harmful delusions of his wife. Yogi thrives in the
duality of the dangerous yet delicate Navarati, giving a performance that
lingers long after the play ends.
Though
the play is bound to a small house in an abandoned village, its implications
are universal—mainly in how it asks us to re-think our notions of truth and
beliefs. When Siddant rebukes Gopi for feeding into Navarati’s warped sense of
reality, he calmly argues that truth is manufactured. “Just look at how people
have so much faith in a stone or a lifeless deity,” he says.
Moreover, the play also hints at how throughout history trust
(be it in love or superstition) has always triumphed over rationality. It
forces us to acknowledge the uncomfortable fact that we often reject rational,
sensical arguments to accommodate and justify our actions, ideologies and
hopes.
‘Hiu
Bhanda Chiso’ brings something new to the table. It moves beyond the didactic,
‘social message’ stories that the theatre community is comfortable with braving
into the realms of neo-noir.
Here’s
to hoping that more plays make that jump.
Hiu Bhanda Chiso
Duration: 1 hour 30 minutes
Where: Mandala Theatre, Thapagaun,
When: Till July 30
Time: 5:45 pm (closed on Mondays, with
an extra 2:30 pm show on Saturdays)
Entry: Rs500, Rs300 for students
Urza Acharya
kathmandupost
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