“A woman is a wife for a moment, but a mother forever.” Shamsher Shahi (Sagar Bhattarai), acting prosecutor for the mock trial, declares with a dramatic flourish and a triumphant smile at the audience. With his statement, the prosecution's speech comes to an end and the case against Devyani Rajak begins in earnest.
“Shhhhh! Ijalas Jari Cha”, a Nepali translation by Bijay Bishfot of Vijaya Tendulkar’s 1963 play “Shantata! Court Chalu Aahe”, brings together the personalities of a schoolteacher, a villager, a lawyer, an interfailed science student, an actor, a social worker, a housewife, and the adopted-son-slash-errand-boy of the last two in a mock trial held for so-called social awareness. As Professor Dinman fails to show, the group invites the naive newcomer Ishwar (Jayaram Rasaili) to join the performance. During the rehearsal, the group turns mercilessly against Devyani, charging her with infanticide and using the fictional trial as an excuse to put down and punish her for transgressions against the traditional, patriarchal society.
The play opens with the oppressive ticking of a clock; there is a sense of urgency, and the tension builds as the ticking continues in certain scenes throughout the play. Illuminated by a dim light is a raised platform, a character in and of itself, the judge's seat of power. Strangely, as more of the stage comes into view, the empty, derelict village hall is covered in melting clocks reminiscent of Dali's “The Persistence of Memory”. The surrealism of the environment is perhaps meant to reflect the blurring of fiction and reality later in this play within a play, as the question of Devyani’s relationship with Professor Dinman is answered. As KK the actor (Ankit Singh) declares, “Truth is stranger than fiction”.
Gunjan Dixit turns Tendulkar’s subtle societal critique into a much more explicit condemnation of patriarchal power. In a scene of her creation referencing Draupadi's disrobing, the court watches in silence as, brought down to her knees by their relentless accusations, Devyani's sari is unravelled by the chorus members (Symphony and Kanchan Kumari Das). Loosened, the garment reveals the accusations against her, painted on by costume designer Sanjita Parajuli. Unlike Draupadi, however, there is no one to save Devyani from humiliation. The lone spotlight in this scene drifts over questions of “Who? Where? When?” and finally lingers on the question “Is court still in session?”, hinting at how this has moved from justice to character assassination.
Desperate search for missing girls as nearly 80 dead in Texas f...
Anushka Karki brings outstanding emotional intensity to the role of Devyani, transitioning from lighthearted laughter to incriminating silence. Her Devyani seems to seethe with anger at the violation of her privacy. Yet, in vulnerable moments, her confession to the audience has every listener spellbound, unable to look away as she redresses herself in a sari—one devoid of writing, as though she has cleansed herself of the shame surrounding her illicit relationship. Opposing her, the only other female character is Mrs. Kaji—a rigid housewife, whose rigidity and no-nonsense manner Anushka Basnet plays to perfection. From comedic sniping with her husband to sickly sweet smiles as she asks Devyani about Professor Dinman, her character is a chilling reminder of women who side with power—outwardly a moral married woman, ultimately a pawn of the patriarchy.
The rest of the characters are men: young and old, they all participate in Devyani's persecution. Childish Rame, initially blustery and blubbering, becomes smug as he puts the final nail in the coffin; he knew all along about Devyani’s affair. Bal Rai's excellent comedic timing and energy make this character one of the most memorable. The sullen scientist Pratap, played by Binay Pant, is similarly vindictive as he places the witness box around Devyani, effectively caging her. He is the first to boom out the accusation against her; his performance is followed by Sagar Bhattarai's self-satisfied, charismatic lawyer. He, KK, and Mr. Kaji (Abhishek Sharma Rajopadhyaya) chant ceremoniously in Sanskrit the importance of a mother, but their hypocrisy is apparent; to them, motherhood is another aspect of women to exert control over.
The verdict is delivered: Devyani must receive a court-mandated abortion, destroying the proof of her sin. The very courtroom that pronounced motherhood as sacred smirks as Devyani’s autonomy is stripped from her; it might indeed be society that sneers as another woman’s rights are overruled and motherhood is weaponised against her. Though written and translated by men, the play is entirely a woman’s tale under Gunjan Dixit’s direction, and as the final spotlight on Devyani’s grim smile fades, the audience is left asking if fiction is any different from reality.
Shhhhh! Ijalas Jari Cha
Location: Mandala Theatre, Thapagaun
Dates: Till 26th July, 2026
Timing: 5:30 PM, 1:30 PM on Saturdays
The author is an intern at Republica and an A-Level Graduate from Rato Bangala School.
