There’s a feeling that sticks with many of us after finishing a good book, movie or play. We feel immersed in the rich universe of the story and it stays with us for a while. When I walked out of Purano Ghar theatre after watching ‘Montage’, I had a similar feeling. I realised that all of our lives are so interconnected. Though we have different stories and different characters to interact with, many of our individual experiences are relatable.

In ‘Montage’, we get to witness three different stories unfold. There were different scenes and characters with different mannerisms in each story, but despite all that, it felt like it was a single story. Because when you really look at it, all everyone wants is a feeling of belonging—something they can dedicate their life to, whether it’s a person, a job or a hobby. In this pursuit, we often grapple with the elusive concept of happiness, a place that seems to exist only in our aspirations. The play also touched on the fundamental human desire to be heard or seen on our terms.

However, many feelings go unexpressed, words remain unsaid and despite one’s desires, things often don’t work out due to societal expectations, stubborn egos or obstinate affections. In the first story of the play, titled ‘First Kiss’, we witness a sweet relationship between college students Pooja and Anmol (portrayed by Pooja Tamang and Anmol Adhikari, respectively) navigating the delicate stage of being ‘more than just friends’. Seated on a bench around midnight, they share their first kiss, only to be interrupted by the police, reflecting the societal discomfort in Nepal with public displays of intimacy.

The play delves into the prevalent Nepali tendency to label hugs and kisses in public as taboo. The police harass and assault the students, particularly focusing on Pooja, reinforcing traditional expectations of ‘appropriate’ female behaviour. The audience reacts audibly to a realistic and well-executed slap delivered by one of the officers. Eventually released, the dishevelled couple, their first kiss ruined, stand at a distance, overcome by silence. The live music by Rajkamal and Pooja Bishwokarma brings them back together as they embrace in tears, the lights dimming to introduce the next story.

During the transition to the second story, the lights dim and the entire team gathers on stage, singing in Hindi to introduce the story. The stage is efficiently cleared and set up for the next narrative. The intimate size of the hall minimises the distance between the audience and the characters, enhancing the personal connection to the story.

The second story, ‘Dhoti vs Bra’, promises a good laugh, exploring the contrasting lives of two couples with divergent ideologies and philosophies.

In this tale, tension quickly escalates among the four characters portrayed by Aarbind Maurya, Ritesh Karki, Enara Banu and Sanam Shrestha. Seated in a restaurant, the mounting tension erupts into a lively argument featuring hair-pulling, table banging, standing barefoot on chairs and four cups of bitter coffee. Maurya’s performance, in particular, stands out for its liveliness and humour. Amidst the bold portrayal of stereotypes associated with Madhesi and Pahadi communities, the audience finds themselves laughing at the impeccable comedic timing of the actors.

The bigger roles, though, are played by two queer waiters working in that restaurant, who are in so much love that they cannot take their eyes off each other. Played by Shrawan Yadav and Shishir Giri, their chemistry is palpable as they steal glances at each other, wiping the tables and picking up the orders. These two are also in the third story, ‘Engagement Ring’, where Yadav’s character has to constantly remind the customers not to refer to him as a brother but as a sister. “Don’t call me babu, call me bobby,” says Yadav humorously.

Writer and director Sulakshyan Bharati appears as an actor in this story. His character, Deepak, is in a dilemma about his life’s choices like most of us are. He loves two women and for different reasons. He is frustrated as he cannot find a working and a family woman in one. He needs a family, which he cannot find in his wife, Monika, played by Nisha Dahal, as she is constantly working. She is career-driven and is waiting for the right time to have a baby. When having a heated debate on this, she asks him, “Am I not your family?”

The responsibilities of adulthood kill their childhood love—a common tale for many couples trying day and night to make their differences work. When Monika leaves Deepak, he stares, teary-eyed, at her shadow leaving the restaurant. Only then does he seem to realise what he has let go of.

Standing up, he holds the hands of Yadav and Giri and tells them to never give up on each other, no matter the differences. As the light casts on the couple, they share a liplock, and the audience takes in the final seconds of the act.

Stepping onto the stage with his team, Director Bharati addresses the kiss between Yadav and Giri. He states that with the government legalising same-sex marriage, it’s time for us to reflect on any reservations we may have about same-sex couples.

Montage

Duration: 90 minutes

Where: Purano Ghar, Sinamangal, Kathmandu

When: Till December 31

Show time: 5:00 pm Tuesday to Sunday, extra 1:00 pm show on Saturdays, closed on Monday