Kathmandu Prof Sanjeev Uprety’s dark comedy Makaiko Arkai Kheti (A Different Cultivation of Maize) is an interesting reinterpretation of Krishna Lal Adhikari’s late 19th Century text Makaiko Kheti in the context of contemporary post-earthquake and embargo-hit Nepal. However, while revisiting the earlier text, this new play — directed and designed by Bimal Subedi — makes a not-so-interesting attempt to raise questions concerning contemporary politics, literature, authorial freedom et cetera. The first disappointment begins with the Author’s pregnant wife (Archana Thapa) — who in conversation with her husband (Sanjeev Uprety), sounds very unnatural. She seems to be just acting even in her voice over (each character introduces himself/herself through a voice over), which is a disappointment. From here the play moves forward where the protagonist — the author — is arrested for writing Makaiko Kheti — despite the author claiming that he has written Makaiko Arkai Kheti. He is then taken to court where witnesses from different walks of life — feminist, astrologer, critic, historians, a transgender and so on — testify against him. From accusing the author of misinterpreting females to twisting history to even causing earthquake with his words, the courtroom is filled with humour and satire. While certain instances make you laugh, some exaggerated moments like the formulaic representation of bhattiwali (Ishtu Karki) irritate you and there a few more such instances. Even so Makaiko Arkai Kheti takes an unexpected turn when the ghost of late Roland Barthes, a French literary critic, is invited to testify against the author. What happens next is a surprising development, but this climax has been poorly executed. The play wanes before stirring the heart of audience. It becomes too chaotic towards the end. One would expect a more mature execution of play from a director like Subedi. The premiere saw many silly mistakes — from actors forgetting their dialogues to one of them (Mira Gurung) laughing during her performance. Gurung, as a lawyer, really needs to be controlled — she is too loud throughout the play. Uprety does well as the author, though at times he seems like someone with mental illness. Rest of the actors’ performance is just so-so, one would wish for more mature acting. The creative and symbolic stage design by Subedi aims to put across the play’s voice — walls are pasted with pieces of papers representing the author’s works. When the author opens a door from one of the walls, it feels like a huge book has been opened. And the same wall serves as his house — his wife and sister (Prasna Dangol) — open the windows on the upper half and interact. It seems an innovative concept that changes the same ambience into a courtroom. What didn’t impress much on the play’s premiere on December 3 was the placement of witness box in this setting — it was almost difficult to see the witnesses faces, thus limiting the actors’ intimacy with audience. The correct costume choice — depicting modern-day people from different walks of life — strikes the right note, though nothing appealing. The use of light enhances the drama experience, especially when transitioning from the daytime scene of courtroom to the nighttime at the author’s house. However, the bad timing in coordination creates a nuisance in few instances — like when actors are closing the window, they do it hurriedly. The play is being staged at Theatre Village, Lazimpat till December 13 everyday at 4:15 pm except on Wednesdays.