Double Bill: Back-to-back plays at NAPA depict realities of life

Ahmed, who earlier enthralled audiences with Shakespeare’s Midsummer Night’s Dream, took on Bedi’s Naql-e-Makaani and Manto’s short story Badshahat Ka Khatma. His patience and passion were beautifully reflected in the form of moving, absorbing performances on stage.

Naql-e-Makani: truth under the shadow of falsehood

A married couple belonging to the lower-middle class section of society moves into a small apartment next to a red light area. The small abode seems like a dream come true for Nafees (Farhan Alam Siddiqi) and Azra (Kaif Ghaznavi) until they find out that it was previously owned by a dancer Shamshad Begum aka Shaddo. Everyone in the neighbourhood mistakenly takes their moving in as Shaddo’s return. The couple becomes agitated after snubbing a number of people who approach them, asking for Shaddo. The couple bravely faces the muhalla’s advances, and stands strong in the face of society’s misconception about them.

Siddiqi, a talented actor, portrays the frustration of a man who bears the brunt of society’s allegations. His remarkable performance depicts how baseless allegations can affect a poor man’s peace. Cast opposite Siddiqi, gorgeous National College of Arts graduate Ghaznavi is a stunning performer with a theatre-friendly sound.

The real winner of the first part  of the plays is Ahmed and set designer Jamil Afridi. The duo has utilised the ample auditorium space to perfection, transforming a restricted play into a larger-than-life act. The play is a good demonstration for senior and junior theatre practitioners who wish to learn about theatre.

Badshahat Ka Khatma: A telephone receiver or a bottle of wine?

Ever since his centenary celebrations took place, Manto’s work has been featured all over the sub-continent. Badshahat Ka Khatma, one of the writer’s most popular works, has a simple plot. The story revolves around a telephonic conversation, which turns into something more than that. The way the story has been staged is an ideal example that a very basic plot can be enthralling and engaging if the right actors are chosen to perform it.

The play opens with Manmohan (Nazarul Hasan), a man who finds space to sleep in an unfrequented office where he works, after spending restless nights on footpaths. Manmohan feels victorious about having found a shelter, even thought he is alone, but all that changes when he receives a phone call from a mysterious girl (Ghaznavi) with a soothing voice. The story is much like many love stories today, which begin with a random phone call.

Gradually, the phone call becomes part of Manmohan’s daily routine and in the words of Swiss psychiatrist Carl Gustav Jung, every addiction is lethal. Manmohan becomes addicted to the comforting voice on the other side of the line. He builds castles in the air, but his empire crumbles when the phone calls stop. A pained Manmohan bursts into tears with the phone’s receiver in his hands, much like an alcoholic clutches onto his last empty bottle of wine.

The diagonal placement of characters one stage adds depth to their telephonic conversation. It also visually reflects the physical gap that exists between them, one that is ignored over the phone. A bubbly and naughty side of Ghaznavi is seen in one scene, which she pulls off with immaculate ease.

Nazar, who is undeniably the best theatre actor amongst all the fresh faces, has a good understanding of the character’s psychology. His command on the craft makes him look comfortable in the most difficult scenes.

In a nutshell, Baadhshat Ka Khatma is today’s tale told in yesteryear’s words. It is a refreshing take on lovers’ communication in the age of Facebook and Skype.

Double Bill will be staged every Thursday to Sunday till May 5 at Napa. It is a must watch, with tickets priced at an affordable Rs600.

Published in The Express Tribune, April 19^th, 2013.                    

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