If the theatre scene in the east of the country once rivaled the dramas in the Capital, that influence had been on the wane in the past decades. Today, however, with a plethora of new and exciting plays being staged around the region—particularly in the hubs of Jhapa, Ilam, Morang and Sunsari—the east is once again seeing a much-awaited theatrical renaissance.

Take, for instance, the current theatre scene in Chulachuli, a rural and marginalised VDC in Ilaam. Despite its economic strife, theatres have been thriving of late.

Last June, Chulachuli hosted a two-day theatre staging of the play Devansi Raja, produced local theatre artists. The play enjoyed sold-out audiences on both days of its staging-collecting an unprecedented

Rs 200,000 in ticket sales in just two days. Moreover, the play also won rave reviews during the National Drama Fest organised by Nepal Academy of Music and Drama, in Charikot, Dolakha. The play, based on a Limbu mythology, was written by Chetan Aangthupo and directed by Anil Subba. “If there is one thing the recent rebirth of theatre in the East indicate it is that there is a huge opportunity for theatre to emerge out of the long shadow cast by the Capital,” says Aangthupo. “The plays being staged in districts such as Jhapa and Ilaam are a welcome sign.”

Things look equally promising in the neighbouring Kakadvitta. Recently, an active theatre in town-Pariwartan Theatre—organised the staging of a play adapted from journalist Akhanda Bhandari’s novel, Malaya Express. The play was directed by Kavita Nepal. Prior to this, the group had also staged the play Hudaina Kalamko Mrityu, inspired by a true story of the murder of journalist Dekendra Thapa.

If theatres remain on the rise, promising a bright future, the lack of suitable venues for staging plays (none of districts in the East except for Morang have theatre halls) hints at the ongoing economic strife for theatre actors and enthusiasts alike. Theatre groups are compelled to stage their plays in rented halls elsewhere—which not only make it hard for artists to concentrate on their art but also escalate the cost. The Ilam-based Chetana Samuha, for example, staged a play based on the origin of the famous Pathivara Temple last year. But the group is currently

reeling under the pressure of paying off debts from the play—with the staging of another play any time soon seems a far-cry.

Birtamode-based Kshitiz Theatre Group suffered a similar fate. The group had staged a play titled Ijalas Faisala, written and directed by acclaimed artist Madhav Kalpit. But the play could not even complete its regular shows. “The absence of a separate theatre hall is one problem; we are also facing problems commercialising the plays,” says Kalpit.

Noted theatre artist Tanka Bikalpa, however, remains cautiously optimistic. “There are a host of talented artists who are willing to ply their trade in theatre; but we just could not commercialise the theatre. No one would abandon their bread and butter in expense of theatre after all,” he says, “The recent theatre renaissance is, however, very encouraging. In the years ahead, through trial and error, the East looks set to emerge as the new capital for theatre.”