Kathmandu, May 13: Dayahang Rai, who arrived in Kathmandu from the remote village of Khawa in Bhojpur with the intention of joining the British Army (Lahure), is now a celebrated name in Nepali theater and cinema. Captivated by literature and his association with literary figures in the capital, he drifted away from his original goal and gradually transformed the very definition of a Nepali actor.
Breaking away from the traditional belief that a ‘hero’ must have a chiseled body, tall stature, and good looks, Rai created a new archetype of a leading man. Although he had acted in films like Mero Euta Saathi Chha and Dasdhunga, it was the unexpected success of Loot that catapulted him into the spotlight. “I had hoped that Loot would introduce me to the audience, but I didn’t expect it to become such a phenomenon,” Rai said, noting that the relatable characters and raw storytelling helped the film and its cast strike a deep chord with viewers.
Theatrical Roots and the Birth of Mandala Theatre
While actively working in films, Rai co-founded the Mandala Theatre in 2008 with fellow artists. What began as a place for practicing plays and hosting discussions has now become a breeding ground for emerging talent. “We started Mandala because we needed a dedicated space. Rehearsing in schoolyards during holidays or holding long discussions in tea-shops just wasn’t sustainable,” Rai explained.
Now operated by a team of 15, Mandala has trained numerous theater enthusiasts and even serves as a casting hub for filmmakers. “The stage is my home. No matter how busy I get with cinema, I can never abandon it,” he said.
Rai’s Journey into Acting and His Inspirations
Rai credits his mother’s folk tales, early access to literature, and exposure to music and radio for sparking his artistic curiosity. He would walk for hours to watch films at the district headquarters. His acting journey began after joining workshops at the National Theatre in Jamal, Kathmandu, where he trained under seasoned artists like Anup Baral and Birendra Hamal.
Sustainability of Theater and His Views on Ticket Pricing
Rai acknowledges that sustaining a livelihood solely through theater is challenging, though some have managed. “Theater still lacks full commercial viability. Without support from corporate houses, artists must rely on passion and persistence,” he said.
To meet increasing operational costs, ticket prices at Mandala Theatre were recently raised — ranging from NPR 300 to 1,000 depending on the show and audience type. “We’ve been careful about this. It also raises our responsibility to deliver high-quality performances,” he added.
Crossing into Film: From ‘Loot’ to ‘Kabaddi’
Following the success of Loot, Rai played a central role in the beloved Kabaddi film series, helping to produce the first installment. “We didn’t have enough funds, but the story was fresh, and the audience believed in us,” he said. His character “Kaji,” a sincere yet socially awkward lover, gained wide acclaim for its humor and relatability.
Rai has appeared in both commercial and artistic films and feels there are clear distinctions between the two. “In commercial cinema, we work to create characters that please the audience. In artistic films, we have more creative freedom, often aimed at international markets.”
Upcoming Projects and Return to Theater
Rai’s upcoming film Mahabhoj, tells a story rooted in local realities. It reunites him with director Dinesh Raut and actor Aryan Sigdel — with whom he had worked 17 years ago. “It’s not just entertaining; it compels viewers to reflect on social issues,” he said.
While Rai has directed plays before, he has no immediate plans to direct films. “If I ever take a break from acting, I’ll likely return as a director,” he noted, revealing that he’s currently reviewing several scripts.
Reflections on the Future of Nepali Theater and Cinema
Rai believes that the new generation holds great potential in the theater scene, especially if schools and universities integrate performing arts into their curriculum. However, he warns against blindly copying successful trends in film: “After a hit, people tend to mimic the style instead of creating something new. To truly evolve, we need to focus on originality.”
As someone who has successfully bridged the gap between stage and screen, Dayahang Rai continues to be a guiding force in shaping modern Nepali storytelling — both at home and abroad.
You redefined the meaning of an actor through the film Loot, didn’t you?
Rai: The structure and style of that film were quite different from the usual. The characters, including mine, were the kind you’d find in your own neighborhood. Audiences saw themselves in the story, and that’s why it delivered such an unexpected outcome. As theater artists, we were stepping into films, and we succeeded in changing the perception and taste of the audience. But my intention in Loot was to showcase my versatility. The roles I played in Dasdhunga and Mero Euta Saathi Chha were very different. I believed acting in Loot would help me continue in the field, but I never expected it to become such a big success.
How did the idea to collaborate on the film Kabaddi come about?
Our original plan was to use the earnings from working in films to run our theater house. After the success of Loot, the audience had begun to trust our work. Around the time we were establishing Mandala Theater, director Ram Babu Gurung discussed the idea of making a film. We liked the story idea he had heard. Around the same time, we also considered collaborating with director Nischal Basnet. Although we didn’t have enough funds, we pulled our resources together and decided to move forward with the project. Kabaddi had a fresh story and introduced a new style to the audience. It also turned out to be commercially successful for us.
Your portrayal of ‘Kaji’ in Kabaddi was well-received. Where did the concept for that love story come from?
Kabaddi is essentially a love story. The character Kaji represents someone who loves wholeheartedly but unrequitedly. He loves the person he’s drawn to with sincerity, but he doesn’t know how to express it properly. That’s why his approach ends up being humorous to the audience. There really are people who love in this way. The character of Kaji emerged from our effort to do something different from the norm.
You’ve worked in both artistic and fully commercial (masala) films—what’s the difference between the two?
In commercial films, characters are crafted to appeal to the audience. That becomes our main focus. But in artistic films, we get more creative freedom because those films are often made with an international audience in mind. The viewers today are already aware of the difference between the two. They come to the cinema either looking for pure entertainment or with the intention of experiencing something new. #artist #nepal #film #cinema #rss #DayahangRai
