Theatre review: When love almost arrives

The play 'Almost Maya' delves into the complexities of love through a collection of short stories, unified by recurring symbols, most notably a bench that transforms into a waiting space, a confessional, a battleground, and a resting place. The production, though not always polished, persistently probes the question of what happens when love arrives prematurely, too late, or in an unsuitable form.

The opening act, 'Ajhai Najik,' presents Nishan and Garima under a starry sky. Nishan rejects Garima's confession, using a metaphor of distance and closeness ('ajhai najik' – closer) to frame his rejection. While the scene possesses poetic imagery and a gentle atmosphere, the metaphor sometimes overshadows the characters, leaving Garima's nervousness underdeveloped and the dialogue feeling mechanical rather than intimate.

'Dukha ani Sukha' shifts to a contemporary setting, depicting a post-breakup encounter between Sandhya and Jeevan at a bar. The act effectively captures the awkwardness of moving on, with Aaska Gauchan's Drasta providing comic relief as the waitress. However, the dialogue tends to repeat, making the scene feel longer than necessary.

The play begins to find its rhythm in 'Firta Deu,' where Rashmi confronts Lakshman, demanding back the love she gave him. The act treats love as a tangible entity that can be returned, showcasing strong chemistry between Misha Budhathoki's Rashmi and Raja Babu Karki's Lakshman. Yet, the ending offers a convenient resolution with a proposal and a ring, which feels too simplistic an answer to years of emotional imbalance.

'Kaha Gayo?' is considered the most mature act, featuring a married couple, Mamata and Paras, searching for Mamata's missing shoe. What begins as a seemingly trivial search evolves into a metaphor for what has been lost in their marriage. The act realistically portrays an argument between two adults, grounding the play in relatable domestic conflict, though a slight imbalance in the performances is noted.