THEATRE REVIEW: In ‘Lahuri Bhainsi’, a buffalo threatens the powerful

Ramesh Bikal's story 'Lahuri Bhainsi,' adapted for the stage, explores the deep-seated social hierarchies in a Nepalese village where owning a buffalo signifies status. The narrative centers on Lukhure, an indebted farmer who dares to purchase a buffalo, a move that directly challenges the authority of the wealthy landowner, Dwarebaa.

The play vividly portrays the predictable conflict between the rich and the poor, where 'supreme power' dictates social norms. Dwarebaa, accustomed to controlling wealth and land, declares Lukhure's buffalo diseased, exploiting the village's collective debt to maintain his superiority. The production effectively uses live music, featuring Salina BK's voice accompanied by tabla, flute, and sarangi, to underscore moments of celebration, climax, and catharsis.

Actors Nabin Taman as Lukhure, and others, deliver memorable performances, with Taman skillfully depicting Lukhure's erosion of dignity. The stage design, with its red mud-plastered houses and streets, authentically recreates Nepal's historical aesthetics, enhanced by skillful light manipulation. However, the play's reliance on vernacular language presents a barrier for some audience members, potentially fragmenting the narrative and hindering emotional absorption, making it "easily forgettable for others" despite sparking curiosity in some.

The play's structure, lacking a distinct opening or closure, mirrors the enduring gap between dominance and poverty across evolving timelines. 'Lahuri Bhainsi' aims to deliver a powerful contemporary message by addressing this historical story, but the linguistic challenges may limit its relatability and impact for a broader audience.

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His paintings do not preserve tradition as a static inheritance; they restore it as a living, evolving language.