Director Shankar Rijal set foot in the Nepali theatre scene with Illusion in 2011. Since then, he has directed five plays: Marriage Proposal, Kohikina Barbad Hos, Purnima, and Aajai Thalau. His latest, Look Back in Anger—written by John Osbourne in 1956—is currently being staged at Mandala Theatre Nepal, Anamnagar. Rijal talks to the Post about his career, interests, and his latest venture. Excerpts:

What led you to becoming a play director? How did you start?

It started very early, during my school days, when I used to write plays and enact it with my friends. That was my earliest encounter with this art form. I would say there was a kind of hunger instilled in me for acting and for plays. Later, in 2007, my brother took me to Aarohan Gurukul to watch plays. There I got the chance to see performances, meet poets, playwrights, and writers which deepened my love.

What does theatre mean to you?

For me, working with plays is like meditation. And, plays are the soul to life. Theatre is the only place where I find happiness, where I can explore myself. I can give more freedom to my imagination.

Who do you deem your source of inspiration?

I read for inspiration. I love James Joyce, Anton Chekov, Haruki Murakami, John Osborne, Pankaj Misra, among many others. From Nepali writers, I love the works of Kumar Nagarkoti, Manu Manjzil, Shankar Lamichene and Khagendra Lamichene. Plays by Sunil Pokharel and Bimal Subedi are huge inspirations for me as well. Sunil Pokharel is my guru. I get inspired with his working style and personality, his spiritual and artistic thoughts. I have immense respect for him.

Can you tell us a bit more about your latest directorial Look Back in Anger?

This three-act play, written by John Osbourne, explored conservative theatrical conventions of the time then. It is a story of four young people struggling to live together and love each other in deeply upsetting circumstances. It paved the way for a new generation of intellectuals who were determined to portray the world as it was for the young working class. Today, though its contemporary impact has faded, it is still a vibrant and bold piece of writing. It broke the standards of ‘escapist’ theatre, and introduced ‘realism’ to the audience.

What challenges did you face while turning the play from paper to stage? What was it like to work on a foreign play with a Nepali cast?

I had a great team to work with and it made performing the play without any obstacles quite easy. The crew was really dedicated and hard working towards their craft which ensured a smooth ride from start to finish.

What made you pick a foreign script? Do you think it is relevant in the context of present Nepali society?

When I read this play, about a year back, I was very interested to explore it on stage with Nepali actors. The context of the play, Osborne’s writing, the in-depth journey of the characters and visual images of the text moved me.

The play explores emotions and themes like love, marriage, death, loss, friendship and the working class struggles of young people. We have played around a little with local texture and available resources, although it is the timelessness of the writing that makes it so relevant, even now.

What are you hoping it accomplishes?

I hope this play will provide a certain impression to the audiences, particularly the young generation, about how the ‘ignored’ can be ‘heard’ through plays.  

What can theatregoers expect from Look Back in Anger?

In contrast to ‘escapist’ theatre that hardly addresses things as they really are, the unpretentious nature of this play is likely to appeal to young audiences.

How do you evaluate the current trend of plays in Nepal?

We have five theatre houses in town. Every theatre house runs acting classes. More than a 100 new actors come in every three months, yet we have not been able to reap the artistic quality we are capable of.

What kind of plays do you like to do?

I like realistic and abstract plays because both of them help portray our lives as it is.