Revival of Theater(MANDALA THEATRE)

Mandala Theatre stands as one of Nepal’s most influential theatre institutions where storytelling meets social awakening. With over 17 years of dedication and more than 100 original productions, Mandala has evolved into a dynamic ecosystem for performance, education, and community-building. Through its Drama School, Theatre Lab, and festivals, it nurtures diverse voices, from SEE graduates to retired adults, creating a rare space where generations learn, heal, and grow together. Whether exploring family dynamics in “Hari Hajurba” or breaking silences in “Manjira,” Mandala’s theatre doesn’t just reflect society, it reshapes it.

 

In conversation with Rijan KC, CEO of Mandala Theatre

 

1. What do you think has helped Mandala stand out in a growing yet still niche theatre industry?
   Mandala is more than just a performance group, we are a full-fledged theatre institution. With 17 years of dedicated work and over 100 original productions, we’ve built our reputation through both artistic excellence and a deep commitment to education and social change. Our platforms like Mandala Theatre Lab, Drama School, ReAct, and various workshops have trained hundreds of emerging artists across Nepal.
   
   As initiators and curators of the Nepal International Theatre Festival, we bring global theatre to Nepal and share Nepali stories with the world. This fusion of local relevance and global dialogue defines who we are.

 

2. You often say that theatre is community-oriented and reflects the society we live in. How does Mandala design its productions and workshops to serve not just audiences, but the broader social fabric?
   Mandala’s theatre is rooted in social awareness and inclusivity. Mandala is proud to have introduced the concept of curated theatre seasons in Nepal. Each season is thematically driven - carefully selecting plays, directors, designs, and theatrical forms based on pressing social issues, age, relevance, and artistic experimentation. From classical adaptations to plays rooted in contemporary crises or indigenous narratives, our programming reflects and responds to the realities of our society.

 

Our workshops mirror this intent. From the Mandala Theatre Lab (18+), training for SEE graduates, and our 18-month Drama School to specialized writer and director workshops, we create inclusive spaces for expression, healing, and critical engagement with self and society.

 

3. Nepali families today are facing challenges around disconnection-across generations, within marriages, and in parenting. How do your plays open space for reflection, empathy, or even healing inside the home?
   At Mandala, we see theatre as a mirror, where unspoken emotions find voice. Many of our productions center on family dynamics, encouraging audiences to reflect on their own relationships. ‘Almost Maya’ explored emotional distance in romantic bonds; ‘Hari Hajurba’ delved into generational gaps and shifting notions of care; ‘Dhukdhuki 72 Megahertz’ portrayed love tested during life’s most pivotal moment.

 

By capturing everyday struggles and quiet resilience, our plays create shared experiences families often relate to and discuss long after the curtain falls. We’re moved when audiences say, “This reminded me of my father,” or “That character was me.” For us, theatre is not just art, it’s a space for empathy, dialogue, and healing.

4. It’s inspiring that older adults, including a 58-year-old retiree, are joining your workshops to reconnect with their passions. What do these cross-generational interactions bring to your creative process and community culture?

These cross-generational interactions are one of the most enriching aspects of our community. When older participants join our workshops, they bring life experience, emotional depth, and grounded perspectives that can’t be taught in a classroom. Their presence challenges the assumption that creativity is only for the young. Instead, they show us that art is timeless-and that the desire to express, connect, and rediscover oneself never fades.

 

Younger participants, on the other hand, bring fresh energy, experimentation, and openness. When these age groups collaborate, it creates a powerful learning loop-a mutual exchange of wisdom and curiosity. It also reflects the society we want to build through theatre: one where different generations don’t just coexist, but collaborate and grow together. For us, this blend of ages in our rehearsal rooms is not accidental-it’s essential to building a truly inclusive artistic space.

 

5. Your children’s play Ritu Raag combined live performance with sensory experience to help kids embody abstract classroom concepts. What inspired this approach-and what kind of response did you get from children and parents?

Ritu Raag was born from a realization: while we often tell our actors to embody the child’s curiosity-unashamed, imaginative, and prejudice-free - we hadn’t created a play for children themselves. After working extensively with schools, we noticed a gap in theatre plays that catered to children as active, sensory learners.
 

In Ritu Raag, we integrated movement, music, and sensory elements to make abstract concepts like weather, change, or emotion tangible. The feedback from children was instinctive and joyful, and many parents expressed how the play helped their children connect learning with lived experience. It confirmed our belief in the power of creative education.
 

6. You run Mandala Theatre Lab, offering acting and writing workshops, even for SEE-appeared students. How important is this early exposure to theatre, and what kind of growth do you witness in these young participants?

This early exposure is invaluable. SEE-appeared students often stand at a confusing crossroads-having just exited a school system with so much space required for self-expression. Theatre becomes that much-needed pause, a moment to breathe, reflect, and rediscover their own voices.

 

Our specialized workshops for this age group have shown remarkable impact. By the end of each batch, students emerge more confident, expressive, and unafraid to explore both their creativity and emotions. It’s not just about performing-it’s about grounding themselves in who they are and who they want to become.
 

7. Many Mandala graduates are now active in films and the wider entertainment industry. How does your training prepare them as performers?
   Our philosophy is simple: learning must be lived. Every workshop we conduct culminates in a full-fledged theatrical production, ensuring students gain firsthand experience in performance, collaboration, and production. Participants aren’t just learning lines-they’re building sets, designing costumes, understanding lights, and managing backstage work. This holistic exposure equips them with both technical skills and artistic confidence.

 

Many of our graduates have successfully transitioned into film, television, and digital media. What sets them apart is not just technical skill but their grounding in presence, character development, and emotional authenticity-all honed on stage, and we’re proud to have played a role in shaping their foundation. But it’s their hard work and passion that carry them forward. We simply offer a space that is rigorous, creative, and alive with possibility.

 

8. Your recent play Manjira - what was the creative intention behind it, and how did audiences respond to a performance where voice was absent but emotion remained powerful?

With Manjira, our aim was to confront the silence that often surrounds unresolved trauma-particularly sexual violence during conflict. The character Manjira, who seeks justice and the meaning of justice throughout the play, became a symbol of so many survivors whose voices are yet to be heard.

 

Inspired by Brechtian theatre, we reminded audiences that this was a performance, but also a truth. The play's emotional weight was carried through silence, gesture, and unresolved tension. After each show, many audience members shared feelings of helplessness and introspection. Their quiet response became the most powerful applause.
 

9. Looking ahead, what kind of impact do you hope Mandala will continue to have-not just as a theatre group, but as a space where people find belonging, purpose, and a shared sense of humanity?

We envision Mandala not just as a theatre group, but as a cultural movement. We want it to remain a place where people find purpose, creativity, and community-whether as artists, learners, or audiences.

 

From decentralizing theatre through mobile performances all over Nepal, to nurturing indigenous wisdom, to creating platforms for silent and marginalized voices-our goal is to be a living, evolving space. One that adapts with time, without losing sight of its roots. We want Mandala to be remembered not just for its plays, but for the many lives it has touched, transformed, and inspired.