Revival of theatre(Katha Ghera)

KATHA GHERA PRODUCTION
Founded by Akanchha Karki, Katha Ghera Productions is a women-led theatre collective in Kathmandu known for blending powerful storytelling with social impact. Born from a need for safe, inclusive creative spaces, especially for women, Katha Ghera challenges social norms through plays that tackle gender, mental health, and marginalization. With emotionally raw works like Sickroom and the groundbreaking Private is Political, the group has carved a space where vulnerability, activism, and art come together to spark dialogue and healing.

In conversation with Akanncha Karki, founder, director of Katha Ghera Productions

1. What was the spark that led to the birth of Katha Ghera?
   Katha Ghera was born out of a desire to create a safe, non-hierarchical space where young people, especially women, could come together, collaborate, and express themselves freely without judgment. It aimed to foster democratic practices in the arts while addressing issues often overlooked in mainstream theatre, such as gender-based violence, mental health, and women’s leadership. The name itself reflects this vision: Katha means “stories” and Ghera means “circle,” symbolizing a safe and inclusive space for creative storytelling.

2. Your productions tackle intense and necessary social issues. How do you balance art and activism?
   Activism wasn’t a conscious starting point for us, it emerged naturally as we began speaking out for social justice and unlearning toxic norms and ingrained patriarchy. As artists, our growing socio-political awareness began shaping our work, and over time, the line between art and activism blurred. Today, we don’t see them as separate. Everything is political, there’s hardly anything that exists outside that realm and artists hold the power to be catalysts for transformation. If we are saying something through our work, it’s vital that it carries meaning. The merging of art and activism has been deeply organic journey for us.

3. Do you ever face challenges while choosing socially charged topics?
   Yes, we do face challenges, especially when addressing themes that are rarely explored, such as feminist perspectives or stories of women from marginalized communities. These topics often make people uncomfortable, and discomfort can lead to resistance. At first, our work might be met with backlash or hesitation because it challenges deep-rooted beliefs and forces reflection. But over time, audiences tend to come around. We’ve learned that meaningful change takes time, and that discomfort is often the first step toward understanding. While it can be emotionally taxing, we’ve come to accept that the process of recognition takes time to unfold.

4. Tell us about your current production-Sick Room. What drew you to adapt Gruesome Playground Injuries into a Nepali context?
   "Sickroom", a nepali adaptation of Rajiv Joseph’s play Gruesome Playground Injuries, directed by Akanchha Karki. A raw, intimate exploration of pain, connection, and memory, where scars, both visible and hidden, come to the surface. Mentions of self-harm and injuries. The play lasted from 20th June to 12th July.
   Cast: Noor Khanal, Sudam CK, Abhishek Khadka, Akanchha Karki
    

Sickroom marks Katha Ghera’s seventh anniversary, and for this milestone, we wanted to choose a play that truly captures the spirit of what Katha Ghera has meant to many since its beginning. It’s a safe space where people can be vulnerable and seen, and we sought a story that would deeply resonate emotionally with audiences. This play felt like the perfect choice. Especially today, when people are often caught up in their busy lives, avoiding heavy or emotional experiences, Sickroom reminds us that there is a sensitive, raw part within each of us and it’s okay to acknowledge and accept that. 

5. How do you view the role of theatre in today’s Nepali society especially when it comes to healing, mental health, and expression?
   Theatre is a powerful platform for self-discovery, growth, and healing, helping people accept their flaws and develop vital life skills. Sadly, theatre is still underappreciated in Nepal, with limited access and few schools including it in their curriculum. Unlike mass media, theatre offers a unique, immersive process that fosters empathy and transformation. At Katha Ghera, we strive to bring theatre to more people so they can experience its magic. It helps release hidden emotions and makes audiences feel seen and understood. Even transforming the life of 1% of our audience is a success that fuels our passion to continue.

6. Playback theatre and roleplay are powerful tools. Can you share a moment when one of your workshops or performances brought about real emotional breakthroughs?
   At Katha Ghera, we practice playback theatre, where audience members share personal stories and actors perform them live. It’s an intimate setting built on trust and confidentiality. This process helps people see their stories from new perspectives, fostering empathy and healing. Many have told us they felt brave sharing their stories, with some saying it even saved their lives. We’re deeply grateful for these moments.

7. How do you create a safe space for vulnerability and sense of community both for actors and audiences?
   We constantly strive to learn and understand the complexities of different generations and perspectives. While we can’t please everyone, we focus on improving sensitivity, encouraging honesty, and open communication. We support vulnerability at each person’s own pace and take accountability if we fall short. Building trust is an ongoing process, and we’re committed to growing together.

8. How do you see its place evolving in schools, and parenting?
   Theatre is an excellent tool for shaping emotional intelligence in children. Because it remains a niche space, it hasn’t received the full recognition it deserves. Theatre teaches kids teamwork, how to make the best out of adversity, and to excel in their unique strengths rather than trying to do everything at once. It nurtures diverse cognitive abilities and interests, allowing them to flourish across different areas. It also builds self-confidence and creativity. I truly wish more schools would include it in their curriculum in the future.

9. What are some lesser-known challenges of running a theatre production company in Nepal? Has the journey ever felt personally overwhelming?
   There are so many challenges. First of all, everything is funded privately and driven by passion, which doesn’t always feel sustainable in the long run. Most initiatives, especially for major theatres, operate at a very grassroot level. Financial struggle is by far the biggest challenge. There’s also very low recognition, which sometimes makes it hard to keep going and keep the fire alive.
   
   Personally, it has been very overwhelming. There have been many times when I wanted to give up completely, leave Kathmandu, shut everything down, and start fresh elsewhere. But I always find myself coming back because theatre is part of my identity, and I can’t run away from it. Some days it brings less joy than it should, yet I persevere and push forward. Being an woman-led theatre company adds extra pressure, as you constantly feel under a spotlight. I’ve acted and directed for nearly 15 years, but I still often feel mediocre, like I haven’t done enough. To overcome this, I keep working steadily and consistently.

10. How does you and your partner’s strengths complement each other in the creative process?
    I am an outgoing, extroverted person who often works through high-functioning anxiety, while my partner is the complete opposite - calm, composed, and very rational. We have distinct approaches to craft, teamwork, and everything else, but our core values align, allowing us to create beautiful things together. In my plays, my partner takes an active role in production, movement direction, and often logistics. In his plays, he prefers creating alone, so I step back and stay more on the margins. 

11. Which play of yours has stayed with you the longest and why?
    Private is Political - for both the right and wrong reasons! It was a major milestone for us back in 2019 because it addressed sensitive issues and sparked a lot of critical acclaim as well as negative backlash. But through it, we discovered a new level of identity, strength, and resilience. It’s a work we are still recognized for, and has become crucial to our identity.