Talent is a non-taxable export and Rato Bangala School's production of the 1950s musical West Side Story underscores the belief that Nepal's wealth of talent could be born to blush unseen, were it not nurtured. Talent that, once mature, could represent Nepal anywhere in the world.

Until West Side Story the most ambitious production in Nepal was the HAMS production in the 80s of Fiddler on The Roof. Even that did not combine all the elements contained in West Side Story-school kids taking on the social complexities of the West in an extraordinary extravaganza that required split-second timing and the disciplines of song, dance and acting.

Nominally about Puerto Ricans in New York, West Side Story is a musical rendition of Romeo and Juliet, that is, about star-crossed love everywhere and the attendant controversy and sorrow. West Side Story has it all, and audiences witnessed stylised gang fights, peaceful moments on balconies, the blossoming of love, death, the law's indifference, and neglected children.


Directed by Chris Masand and brilliantly choreographed by Bishwabandhu Ghimire, what emerged were stellar performances by Priya Joshi, who brought innocence, anger and fire to her role as Maria, the Juliet of West Side Story; Kushal Regmi in his portrayal of Tony, the Romeo of the piece, was fitting as the post-adolescent protagonist in search of individuality away from gangs and peer acceptance. (Both seen in picture, above)

The supporting cast rendered some dazzling performances: a tempestuous and joyous Himali Dixit as Anita, Juliet/Maria's friend, the brooding, inescapable presence of Bernardo as head of the Puerto Ricans brought to life by Miku Dixit, and the understated cool of Kundan Dhakwa as Ice.

West Side Story is about new immigrants in America but it could be about newcomers to any country, and about relationships that try to transcend established social barriers. The play is happening in real life today in Nepal, as boundaries of caste begin to break and a new social order beckons. And as the play stresses, the villains of the piece are audiences everywhere who watch impassively as tragedy after tragedy unfurls. The world, instead of helping, watches on.

And yet another tragedy away from the play is that the Priyas, Kushals, Himalis, Mikus and Kundans will probably end up in mundane offices and homes instead of allowing their talent to take them the way of a Chris Masand or a Bishwabandhu Ghimire

Part Shakespeare, part Greek tragedy, part Zeigfield Follies, wholly Broadway, West Side Story and Rato Bangala owe us an encore. What about La Mancha next?