It was in 1985 when the play was first staged at the City Hall at Exhibition Road. In 2000, theater artiste and principal of Aarohan Gurukul, Sunil Pokharel, and his wife Nisha Pokharel enacted the play at the Academy Hall. Though for the third time now, Pokharel’s direction and adaptation of this Greek epic is still mesmerizing. Indeed, Sunil Pokharel has done justice to the Oedipus Rex and his adaptation of the act is worth praising.
Though the play started on July 4, even after 3 days of successful screening, there were dozens of people at the Gurukul’s courtyard waiting to understand the act on last Tuesday evening. Many had to go back home disappointed because it was already houseful. For many, the play was not a new story because it was a part of the academics for many and it has also been translated into many other languages. Still most of the faces inside the Rimal Natak Ghar of Gurukul expressed that they wanted to relate what they studied to the play and each of them seemed anxious to know if the casts and the direction would compliment the true Oedipus’ grief and tragedy that he faced in his life or not. Alas, they did and Pokharel has neatly directed the entire story.
The show stealer certainly was the promising theater artiste Saugat Malla. His theater experience of more than nine years makes it quite clear in this play that he knows all what it requires to becoming a powerful actor of all faces and characters. He needs special mention for bringing King Oedipus’ character so real and close to how Sophocles has described him through his dramatic narration. Had it been anyone else than Malla, the play might have lost the power packed performance.
Sunil Pokharel’s direction had many colors to describe. His choices of the lighting, his idea of presenting the costumes and his approach on presenting the drama with Nepali touch is really fascinating. He did add many new ensembles into the play that is not mentioned in the original drama. But he has successfully piled up the plots and his new ensembles do not break the flow. Take for example how the play started. The Manjushree dance in the beginning performed by the artistes representing the citizens of Thebes to please King Oedipus was beautifully choreographed.
Likewise, the dialogue delivery in Nepali has a lot of energy and strength that compliments Oedipus’ anguish and projection throughout. The casts are carefully chosen. Though Aruna Karki, who plays Queen Jocasta looks little down in front of the strong acting of Saugat Malla; King Oedipus, she however fits to the character of an old Queen who was previously married to King Lauis. The whole set up was decorated authentically, making the audience feel like they were really inside the royal palace in Thebes for awhile.
Tuesday evening’s play was more fun to see as both the air conditioners inside the theater were not functioning and the temperature was unbearable and the actors were sweating like anything, but the casts made sure that they do not spoil their job. Indeed, they performed flawlessly on heavy costumes.
Pokharel’s third presentation of Oedipus Rex is different from the previous one as his main focus in this edition is costumes and set up. The first series of the act was purely based on Greek context while the second time he blended the play with Bajrayan culture. Though Pokharel said his main focus was on costumes this time, he has however brought together all the aspects required in a worth watching act.
Bijay Gajmer
For a short synopsis, the play unfolds with King Oedipus calling his countrymen to help him find who killed his father king Lauis who ruled in Thebes before him. While in search of finding the murderer, he is told by a priest that it is no one else but Oedipus himself. Oedipus was born with a curse that he will kill his own father, will get married to his mother and fathers children from her. Oedipus refuses to believe the priest and he looses his temper. What happens next? Is he really the culprit? Did that curse really come true? Will Queen Jocasta find out the reality? We leave it to you to find out the remaining details because the play will run through August 1.
In a nutshell, it is one of the must see acts in Gurukul not just because Sunil Pokharel has directed a well known epic, but for the beauty the entire act has and for the strength in acting showcased by the artistes. It has yet again proved that theater acting is way stronger than the commercial characters because there is no second take in between. And to justify each role within a single take is not an easy job after all. Malla who has already worked for Kagbeni and has lead role in Manoj Pandit’s upcoming “Dasdhunga” is advised not to get into commercial cinema because his energy and strength in theater is far better than those actors who call themselves commercially successful.
On Sunil Pokharel’s part, we have to wait and watch if he can create the same magic in his upcoming plays Indra Bahadur Rai’s “Jar”, Ibsen’s “Peer Gynt” and “Majhipalakhe” (traditional Mask Dancers).
