Month: March 2019

A review on Pakistani Drama theatre play, Baari (2019). This play was performed at NAPA International Theatre Festival 2019. The play was directed on the instructions of late Madeeha Gauhar.

+ Crew

• Written by Shahid Nadeem
• Lighting & Production Design by Nadeem Mir
• Music & Sound Mixing by Bilal Mughal
• Produced by Ajoka Theatre

 
+ Note

Baari is written in 1986 and first performed on International Women’s Day in 1987. Shahid Nadeem wrote the play on Madeeha’s request, when he was in exile in London after being imprisoned by the military government of General Zia-ul-Haq. The play was produced by Ajoka and was directed by the late Madeeha Gauhar.

Ajoka Theatre Group dedicated this play to Madeeha Gauhar, who had previously directed this play several times.

This festival brings together performers from a diverse group of countries and as before NAPA have a number of collaborations between international and local artists.

 
+ Full Cast

1. Madiha Rashid/ Kanwal Khan as Zahida
2. Nayab Faiza as Jamila
3. Samina Butt as Jannat
4. Eva Majid as Mariam
5. Naseem Abbas as Warder

+ Plot
Zahida is sentenced to the central jail for protesting against the military regime’s ban. There she meets three female prisoners in her cell who are imprisoned for different reasons.

+ High Points
i – The only performance exciting to see was of Nayab Faiza as Jamila, the strong headed woman responsible for murdering her husband. This was a challenging role to play and was achieved it splendidly.

ii – The inclusion of the playback singer and music was a very good idea, helped in keeping the interest level in the play.

+ Low Points
i – The director’s absence was felt throughout the play. Surprising it maybe, but NAPA’s version in this festival did a better job.

ii – Generally, everyone’s performances were just average; more was expected.

iii – The absence of production set design did make a difference on the big stage.

iv – It’s funny to see an old woman, Jannat, walking and talking like a younger woman. Samina kept coming out of her character.

v – There were minor issue related to the lighting. See, when a character is speaking and walking simultaneously then the spot light should move with it.

+ Overall

Baari tries so hard to shock the audience with their individual stories that it completely forgets to connect it to emotionally and quickly devolve from women empowerment to tragic drama.

Rate: 1.50 out of 5 stars

A review on Foreign Dance-Drama theatre play, Devi (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Written & Directed by Joshinder Chagger
• Produced by Studio J

 
+ Note

Devi is an Australian play, performed in English language. The word Devi refers to Goddess, which is an exploration of the Sufi saying, ‘Death Before You Die.’ It is performed by three artists with three different forms of expression, that is Experimental Movement, Bharatanatyam dance and Live Vocals & Music. Parvyn Singh was also the vocalist & musician.

 
+ Full Cast:

1. Joshinder Chagger as Hajra
2. Jaya Karan as Kali
3. Parvyn Singh Bennett as Falcon

+ Plot
Hajra is on a journey to shed her past. Kali, the Goddess of Death, is always by her side, waiting patiently. Death is the portal through which Hajra can move towards her higher self, represented by the melodious voice of the Falcon. However, as Hajra discovers, when one layer comes off, it reveals many more underneath.

+ High Points
i – Joshinder’s direction brings this dance play to a very satisfying end.

ii – From Parvyn to Jaya, all three gave their finest performances.

iii – I am sure, many would agree on me to say that Jaya’s portray as Kali in terms of dance choreography was the best.

iv – The handling of lighting was top notch.

v – A very different but conceptual, thought provoking idea behind the production design.

+ Low Points
i – The director leaves much on the audience to consume.

ii – Perhaps cutting the time length by 10 minutes may help.

 
+ Overall

Devi is for some vast, abstract audience anxious to lose itself in imagined narratives.

 
Rate: 3.50 out of 5 stars

A review on Pakistani Drama theatre play, Jinnay Lahore Nahin Vekhya (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Lighting, Production Design, Written (Adapted) & Directed by Anwar Jafri
• Costumes Designing & Co-Directed by Sheema Kermani
• Produced by Tehrik-e-Niswan

xxxxxxxxxxxx

+ Music Performers

• Vocalist by Daniel Wilayat
• Tabla by Zulfiqar Ali

 
+ Note

Jinnay Lahore Nahin Vekhya is adapted play, originally written by Dr. Asghar Wajahat. It is based on the actual incident and dialogues of Nasir Kazmi, taken from the letters and his writings.

This play is based on 1947, set in Lahore immediately after partition. The conflict arises on the partition of Hindustan, as to say that Pakistan is for Muslims whereas India is for Hindus only. This is strongly opposed by the poet, Nasir Kazmi and the Moulvi of the local mosque.

+ Main Cast

1. Sheema Kermani as Maajee
2. Mehmood Bhatti as Mirza Sahib
3. Samaviya Asghar as Begum Mirza
4. Abeera Pervaiz as Tanno
5. Harris Khan as Javed
6. Waheed Ali as Nasir Kazmi
7. Emran Khan as Pehalwan

xxxxxxxxxxxxxx

+ Supporting Cast

1. Adnan Haroon as Chai Wala
2. Sonu Imran Bhatti as Tangay Wala
3. Mohammad Anwar Uddin as Clerk / Moulvi
4. Madeeha Pervaiz as Begum Hidayat
5. Paro as Beti
6. Umair Aslam as Chela#1
7. Dawood Bhatti as Chela#2
8. Kumail Bhatti as Chela#3
9. Malaika Khalid as Girl#1
10. Dianna Lazer as Girl#2
11. Alika Kashif as Girl#3

+ Plot
An immigrant family has been allotted an abandoned haveli by the previous, Hindu family. To their dismay, they find that the haveli is already resides an old woman from the previous Hindu family. This not only irks the Muslim family but also the local residents of the neighborhood who want Pakistan for Muslims only.

+ High Points
i – Once more, a great direction by Anwar Jafri and Sheema Kermani. Last year in this festival, respected Anwar directed Manto Mera Dost which was also directed remarkably and gained much praises. In this play too, the combined efforts proved themselves as much worthy.

ii – A good adaptation, connected the audience with its emotional link while conveyed the play’s core message in the spectators’ hearts.

iii – Sheema Kermani gave a very creditable performance as the Hindu old, caring woman, Maajee. Just like in the play, the audience quickly fell in love with her character and felt her pain, the desire to meet her long, lost son on other side of the border. Thank you ma’am, it was an honor to watch you perform.

iv – Incredible performance by Emran Khan as the strong temper wrestler, Pehalwan. Due to his interesting character & solid performance, his scenes were very pleasant and amusing. It bought smiles, laughter to most of the audience. Other Honorable Mentions: Mohammad Anwar Uddin.

v – The inclusion of music & playback singer boasted the play and the performances strongly. I don’t think I would have loved this play the same way without them being part of it.

vi – The costumes were well suited, just the characters’ attire should be in.

vii – Proper usage of lighting, helped the performers presenting themselves better.

+ Low Points
i – Although the set design and props were much better than any other plays, I have watched of their production but still I believe they can further improvise it more.

ii – Having no sub plots, your concern would only be stick with one character the entire time.

 
+ Overall

Jinnay Lahore Nahin Vekhya is a beautifully accomplished play, for a better cast of players is difficult to imagine.
Rate: 4.25 out of 5 stars

A review on Pakistani Epic War-Drama theatre play, Jadl-e-Azal (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Written (Adapted) & Directed by Masood ur Rehman
• Music Composed by Ahsan Bari
• Costume Designing by Ali Qazi & Rachna Kirplani
• Production Design by Anjum Ayaaz
• Produced by Black Box

xxxxxxxxxxxx

+ Dancers

• Rachna Kirplani
• Kiran Siddiqui
• Maha Hasan
• Abeera Pervaiz
• Noreen Mumtaz Gulwani

 
+ Note

Jadl-e-Azal is an adapted play from The Tragedy of Rostam & Sohrab, a 10^th century classic Persian epic Shahnameh which originally written by Firdausi. Respected Zain Ahmed is the creative head for this grand war-drama, performed at NAPA.

Other crew members include Bazelah Mustafa, Ubaid Iqbal, Syeda Maha Ali, Kiran Siddiqui, Mohsin Babar, SM Muntazir, Areeba A, Aisha Bakhtiyar, Husnain A, Rejja Sehla and Malik Farhan Aziz.

Previously, Masood-ur-Rehman has directed his debut play By Mistake which was performed in NAPA’s Young Director’s Festival 2017 and commercially performed at Arts Council of Pakistan.

 
+ Main Cast

1. Vaajdan Shah as Rustom
2. Raheel Siddiqui as Sohrab
3. Erum Bashir as Aasia
4. Syeda Maha Ali as Gurd Afreed
5. Samhan Ghazi as Raja
6. Zain-ul-Abideen as Jotshi
7. Naz as Lajwanti
8. Abeera Pervaiz as Amooli
9. Ejaz Khan as Kikaous
10. Zain Nazar as Behraam

xxxxxxxxxxxx

+ Supporting Cast

1. Aqeel Ahmed as Wazeer
2. Jahanzaib as Sawanth
3. Amir Naqvi as Senapati / Borha
4. Maha Hassan as Damini
5. N/A as Raqqasa
6. Danish Abro as Dehati / Godarz
7. Ansaar as Dehati
8. Rao Shahnawaz as Sardar#1 / Wazeeri
9. Ahad as Sardar#2
10. Wasay as Hajeer

xxxxxxxxxxxx

+ Minor Cast

1. Mahesh as Darbari#1
2. Essa Khan as Darbari#2
3. Hunaid as Darbari#3
4. Saud as Darbari#4
5. Ali Raza as Darbar#1
6. Usman Siddiqui as Seeta
7. Asfand as Homan
8. Waleed as Toos

+ Plot
Following the traces of his lost horse, the legendary warrior Rostam wanders into the kingdom of Samangan where he falls in love with and marries the princess, Aasia. They have a son, Sohrab who Rostam has never met – until the day they face each other in the battle.

+ High Points
i – Taking such an initial, bold step to come up with such grand, epic play, does need one, guts to do that. The hard work behind its making could be witnessed by the spectators by taking a good look at its long list of cast and crew members for making this play possible.

ii – Erum Bashir is a talented actress with great dance ability as one of her strengths. No theatre actress in Pakistan I have watched, who can outmatch her dancing skills in combination with her acting talent.

iii – A confident, senior actor, Vaajdan Shah plays the role of Rustom, a fearless warrior with honest heart. He was one of the best choices to play this part and performed it equally well.

iv – Raheel Siddiqui gives a energetic performance as the young blood warrior, Sohrab. Yet, he still has a long way to go and needs to climb more steps to be standing in the ranks of good actors. Other Honorable Mentions: Syeda Maha Ali and Samhan Ghazi.

v – The costumes were suitable as per the characters that the performers played.

 
+ Low Points

i – By conducting such a grand, epic play does not seal the label of ‘Achievement’. It merely establishes the fact for taking the ‘First Step’. Yes, we do want such plays to be performed more in quantity. However before this, learn from your mistakes and perfect this play before performing it at NAPA International Theatre Festival. I am sure, that the people who were directly involve with this play, already knew where Jadl-e-Azal stood before it was performed. It is suggested that such plays should be performed only when it is perfected / well established and recognized by the senior artists as to say leveling the play is of ‘High Quality’. If we still let such plays performed (without playing it at other smaller festivals/different occasions first) at NAPA International Theatre Festival, we are only decreasing the value and standard of this festival.

This would make, other theatre productions or outsiders think that perhaps ‘Low Quality / Student Level’ of plays can be performed in this festival too. I personally don’t believe that this is the right decision. By doing this, we would only devalue this festival’s image. First perfect the play, make it stronger and of higher quality, before running it in this festival. This suggestion goes for any other plays with similar issues as well.  

ii – A proper adaptation of this script is gravely needed. The original script is a melodrama, as the author of this was a poet. The dialogues of the characters’ should have ended with rhymes. If you don’t want to use that, then change it completely and make it clear that the adaptation is not based on its melodrama. There were major changes in its story, on who falls in love with.

iii – Let’s just say that if this play was to be directed by Zain Ahmed or Sunil Shankar, even for them this play would have been difficult to execute it as it should have been.

iv – This play’s time length was more than 135 minutes long. The main question is why there was no interval? How can anyone expect that the audience would remain sitting calmly in their seats? The mind was screaming to exit whereas the stomach was growling with hunger.

v – Its understandable that there were budget issues, due to which the visuals were used to transit it to different scenes rather than using different production design. Although, it is also understandable that no visuals can replace the need for proper constructive sets…

At first, the visuals looked good with still images, played in the background… at that time it also seemed a good idea. But after half an hour, the visuals started to look cheap, of bad taste replacement. The clever usage of projection design with the lighting would have been a much better option. It would have lit the mood of the play.

vi – I believe that having a narrator to progress this epic, war-drama story would have been a very wise decision indeed.

vii – The chemistry between Vaajdan and Erum was so dull and boring. It was almost a dead love story. If it was developed in detail, more romantic scenes were added and by establishing the emotional link between the characters and the audience, the result would have differed greatly.

viii – For such long and dry plays, having playback singer/s is a must! Otherwise, the audience would lose their concentration very quickly.

ix – Mandatory requirement of having music in different scenes and beats would have helped the play to gain further interest.

x – The placement of the lighting was poorly placed and handled. Most of the time, the performers’ faces were hidden (almost entirely) by the shadows. When the performance is being played, their faces, especially their eyes should be clearly shown for the LIVE audience.

xi – When you are already promoting this play heavily to the public and it is to be performed at the NAPA International Theatre Festival then why the fight choreography & stunts looked kids’ stuff? Why there was no an actual, professional fight choreographer hired to train the stunt men and actors? The fight sequences even in a comic play look more believable than this.

xii – Same goes for the dance choreography. Really, I have no words, on how to describe this. The dancing sequences by the performers should be same and timely fashioned. Some dancers were moving faster, some slower while some looking at their fellow performers to know what they should do. Honestly, I have seen much better dance performances at private ceremonies.

xiii – Watching such a long play… without interesting scenes, the play would definitely end up to be a drag. If I were not to write a review on this play, I would surely have walk out just after 30 – 40 minutes later.

xiv – This is the reason why I did not have any expectations. Any director with prior good experience of conducting such plays may have achieved such a difficult task.

xv – The fight scene which takes place between Sohrab and Rustom, instead of requesting for another sword duel, this fight should have been only one/merged… since begging for another fight by either of the side goes against their characteristics. Regardless what the original script says, the adaptation should have made these vital changes for the stage performance.

Even the sword duel between Raja and Rustom should have impressive one, even if it was short lived.

xvi – Sohrab’s love happened at first sight, (much quickly than Romeo & Juliet fell for each other) where he forgot about his mission, the war, everything… just desire to have Gurd Afreed for himself. All in a day’s work and by evening, Sohrab saw the real picture. Naturally, I am not literally saying that it happen within the time span of one day nor I have any issue regarding Sohrab’s blind love. But to fall in love for his rival who he just met at the battle field is shocking! It didn’t look believable; the audience wouldn’t buy it and they didn’t.

xvii – Where are Aasia’s dramatic scenes? Her majority of the scenes are full of dance sequences. Mind you that I am not criticizing her dance skill. But in this play, she is playing one of the important leading characters; more light should have been given to her, for her character’s depth.

xviii – Why there were insertions of visual presentations for? Perhaps the director wanted to show realistic surroundings where Rustom marries and then farewells his wife, Aasia. Okay, I agree that you came up with this idea ‘Out of the Box’, except… playing this on-stage with proper build-up good set design instead; props could have accomplished it better.

xix – A properly constructed sound design during fight sequences, Sohrab’s scenes in the desert, etc should be included.

xx – Are you telling me that Rustom came to the rival’s kingdom looking for his valuable lost horse but left the place with a princess instead? What happened to the horse?

xxi – As for the stage management, the falling of the curtains should take place whenever the set is changed. It is more appropriate, better presentable. And that the production team, should be wearing black uniform, which camouflages with dimly lit background instead of wearing casual clothes.

xxii – Kindly note that the design of the Persian army swords is wide, pointed and curved. The swords that were shown were straight and long; similar to the ones which the medieval Christians and crusaders had used.

 
+ Overall

Sad to say, that even after such hard efforts & preparation, talented Masood fails to achieve it by a huge margin. As drama and as theatre play, Jadl-e-Azal consists of vast number of flaws. It clearly lacks style both in visual and in action.

 
Rate: 1.0 out of 5 stars

A review on Pakistani Drama theatre play, Bari (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Costume Designing, Production Design, Written (Adapted) & Directed by Aqeel Ahmed
• Written (Original) by Shahid Nadeem
• Lighting by Daniyal Ashraf
• Produced by GA Productions

 
+ Note

Bari is conducted in Urdu / Punjabi language play. It is about gender violence and discrimination. It has a specific reference to its laws.

For new comers, I welcome them all to be part of theatre academy and pour their effort to be new faces for the plays to be performed.

This festival brings together performers from a diverse group of countries and as before NAPA have a number of collaborations between international and local artists.

+ Full Cast

1. Sehrish Qadir as Zahida (Past)
2. Tehrim Shafiq as Janaat
3. Nataliya Karanjia as Jamila
4. Aisha Bukhteyar as Mariam
5. Shumaila Taj as Zahida (Present) / Narrator
6. Hasnain Raza as Police Officer

+ Plot
Zahida is sentenced to the central jail for protesting against the military regime’s ban. There she meets three female prisoners in her cell who are imprisoned for different reasons.

+ High Points
i – A nicely directed play by Aqeel Ahmed. His choices of performers and how it needed to executed was well thought over. Good work!

ii – Amazing performance by Nataliya Karanjia as Jamila, playing a strong woman personality. Not only her story was tragic like the rest but also that her character was most difficult to portray. I congrats Nataliya for her praise worthy performance.

iii – This is the first performance I have watched of Aisha Bukhteyar who played the character as Mariam, the delusional woman. She has performed very realistic, as she understood her character well and knew exactly how to pull it off. Yes, I am eager to watch more of her performances. Other Honorable Mentions: Rest of the cast.

iv – Good effort behind the makeup and hair styling.

+ Low Points
i – I believe we could have a better option than Shumaila Taj as the narrator.

 
+ Overall

Bari is successful in terms of solid performances by uncommon actors.

Rate: 3.0 out of 5 stars

A review on Foreign Drama theatre play, Oh My Sweet Land (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Written & Directed by Amir Nizar Zuabi and Corinne Jaber
• Produced by Theatre de Vidy Lausanne and the Young Vic London

 
+ Note

Oh, My Sweet Land is a solo performance, Syria-Germany based play in the shape of storytelling. Lebanon, Jordan, Syria… all is left is refugee camps. Their distant memory of beautiful home is lost forever. Even though this is originally a French language play, which was later decided to perform in English language instead for our audience convenience.

NAPA thanks Goethe Institut for their continued support as well as the other consulates and embassies for helping them in making this festival possible.

 
+ Full Cast

1. Corinne Jaber as Woman

+ Plot
A woman is cooking Kebbe, a classical Syrian dish obsessively in her kitchen and trying to come to terms with what she saw during her trip to Jordan, Lebanon and Syria looking for her lost lover.

+ High Points
i – A great direction by the duo; conducting a solo performance play is always challenging, especially if it is based on storytelling.

ii – This play comes to a powerful end. A reminder to those who think that the worst outcome of any war is death but is clearly not!

iii – Splendid performance given by Corinne Jaber as Woman. Loved how she continues to actual cook Kebbe while facing the audience with her story.

iv – The production design including its props used were commendable.

v – Effective use of the lighting, manages to keep a strong focus on the subject matter.

+ Low Points
i – If you can watch a storytelling play with long monologues with a solo performance, then this play is for you.

ii – In mid phases, I couldn’t help myself but to fall asleep listening to great detail story with no action.

iii – I believe that this play should reduce 10 – 15 minutes of its time length.

iv – Playing music even for precise moments only was difficult to hear.

 
+ Overall

Oh, My Sweet Land is an emotionally storytelling drama, gradually it unfolds the war-ridden tragedy and its consequences.
Rate: 2.50 out of 5 stars

A review on Foreign Dance theatre play, Wahala [Slavery] (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Dance Choreography & Directed by Kapila Palihawadana
• Produced by nATANDA Dance Theatre

 
+ Note

Wahala (Slavery) is a Sri Lankan dance play. It depicts the suffering, pain and anguish felt by anyone who has experienced slavery of any form. Even though slavery is now illegal in all countries, but still it is prevalent in other forms and many are still subject to various forms of modern slavery. A song, Wade in the Water was played that represents associated with the struggle of slaves.

NAPA is proud to have this international theatre festival by collaborative work in the exchange of ideas that takes place.

 
+ Dance Performers

1. Malith Upendra
2. Dakshika Bandara
3. Kalani Sachithra
4. Senarath Nanyakkarae Lasantha Harsha Kumara Nanyakkara
5. Narmada Nikethani
6. Jeewaka Randeepa
7. Dumidu Hashan

+ Plot
Slavery has existed in one form to another, such as human trafficking, forced labor or marriage. Through the recorded human history, it is believed that slavery began before written history in many cultures.

+ High Points
i – Excellent combination of dance choreography & direction by Kapila Palihawadana. The hidden message behind the pointy sticks that kept increasing into one of the performers’ neck with the emotional subject is cleverly blend in with its artistic grace and relative deepness.

ii – The performers’ graceful dance and acting skills resulted in giving out an important message towards empathy and the value of freedom.

iii – It appears the costume designing is carefully chosen including the colors that were chosen for their dressing is well though over, relating with the moments of the play.

iv – The lighting was intelligently taken care of. It helped in creating the moods of the play.

+ Low Points
i – Emptiness of having the absence of music between the two songs during the performance breaks barrier with the reality.

 
+ Overall

You have to admire the way every aspect of Wahala (Slavery) works toward the emotional power.

Rate: 3.50 out of 5 stars

A review on Pakistani Crime-Investigation theatre play, Court Martial (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Directed by Zia Mohiuddin
• Written by Sudesh Deepak
• Costume Designing by Syeda Maha Ali
• Lighting by Masood-u-Rehman
• Produced by NAPA

+ Note

Court Martial takes place in an Indian army court room where it emerges during the trial scene is a highly gripping drama about the circumstances that led the soldier to commit the crime. The writer brilliantly exposes the manner in which a class-ridden society hides the truth to preserve the status quo.

I have previously watched this play, performed at FTC; Karachi a couple of years back where Stage Nomad Productions were behind its effort while one of the major roles of Col. Surat Singh was played by NAPA’s one of the best young actors… Farhan Alam.

NAPA hopes that the performances were enjoyable for the audience and critics during this International Theatre Festival. The support by them is essential for the efforts to enrich the cultural ecology of the nation.

+ Full Cast

1. Mazhar Suleman as Col. Surat Singh
2. Ubaid Iqbal as Salakar Judge
3. Ahad Taqueer as Judge #1
4. Samhan Ghazi as Judge #2
5. Gazain Abbas as Col. Rawat
6. Zain Ul Abedin Qureshi as Maj. Ajay Puri
7. Zohair Zubair as Cap. Bekash Roy
8. Faizan Chawla as Cap. Dr. Gupta
9. Malik Farhan Aziz as Captain B.D. Kapoor
10. Abdul Hafeez as Subadar Balawan Singh
11. Essa Khan as Ram Chandar
12. Asfand Yar as Guard #1
13. Ansar Mahar as Guard #2

+ Plot
It is about the trial of a young, upright Indian soldier who has shot dead his commanding officer.

+ High Points
i – A superb script, brings out the character’s emotional pain and merges with audience. They felt every ounce of pain as the characters did.

ii – Finally! I was able to watch a gripping directorial play by respected Zia Mohiuddin; able to bring the play closer to the script’s intense scenes.

iii – A praiseworthy performance Farhan Malik Aziz who played the role of Captain B.D. Kapoor, the antagonist of this play. For Farhan to play this part, it turned out to be a wise decision.

iv – A new comer, Zohair Zubair played the role of Cap. Bekash Roy, defending lawyer. The actor understood this role & the script’s demand well enough, before pulling it off.

v – Mazhar Suleman played the role of Col. Surat Singh, who gives a solid performance as an intelligent judge. Other Honorable Mentions: Rest of the cast.

vi – The costumes looked official and authentic to their characters.

vii – Good job behind the lighting; in timely fashion, the lights were focused and faded on the stars.

+ Low Points
i – Same issue with Zia Mohiuddin’s play… production design. Really, don’t think that this is important for any play?

+ Overall

Court Martial is a realistic thriller where its strong performances leaves behind a tremendous impact.

Rate: 4.0 out of 5 stars

A review on Pakistani Drama theatre play, Perahan (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Costume Designing, Production Designing, Written & Directed by Bazelah Mustafa
• Produced by Bee M Production

 
+ Note

Perahan is a sequel to the director’s previous play, Soch which was an acclaimed physical theatre production and was performed during the NAPA’s International Theatre Festival 2018.

Although, I wouldn’t call this play a direct sequel as the treatment of both plays were very different.

Bazelah Mustafa has worked in multiple theatre productions in Urdu, English and French across Pakistan and UK. She has also choreographed, directed movements and performed in several dance theatre productions.

 
+ Full Cast

1. Samhan Ghazi as Mr. Saboor
2. Shabana Hasan as Nanny
3. Kiran Siddiqui as Anna
4. Farhan Alam as Dr. Karim
5. Bazelah Mustafa as Saboor’s Friend
6. Ayesha Pervaiz as Biff
7. Sibtain Ali as Chip
8. Aamir Azbi as Kipper

 + Plot
After the tragic death of her mother, Anna is traumatize and emotionally vulnerable during the upbringing by her beloved father and dedicated nanny. To treat her mental illness, Dr. Karim is introduced in her life.

 
+ High Points

i – A nicely executed directorial play by Bazelah Mustafa. After this play and Soch, people wonder if she may be the next best choice for a director.

ii – Samhan Ghazi gives a very interesting performance as Saboor, a high class, concerned father. I am very pleased to see that he is making himself stronger as an actor and keep pushing himself to grab more appealing roles, which is healthy for any performer who is serious for his career.

iii – Time to time, Shabana Hasan keep reminding us as to why she is a terrific actress. Her character of low class, caring nanny made the character an interesting choice to play this role.

iv – The way Anna’s character was treated that is her lines in the start were intentionally inaudible. But in the third act, her character is able to speak clearly and act responsive was very professionally written and directed.

v – The actress, Kiran Siddiqui should be equally admired for her believable performance especially including Anna’s sudden alarming seizures. Other Honorable Mentions: Rest of the cast.

vi – The props and set design was effectively constructed. It gave enough space for the movement of the performers and to see two places activity simultaneously.

vii – The chemistry between Samhan Ghazi and Shabana Hassan was compelling to watch. Perhaps, we may be able to see them together again in other plays’ lead roles.

viii – I liked how the play comes to its end. No filmy ending was given, kept within the dimensions of reality.

ix – The script is interestingly written, in terms of dialogues and storytelling.

+ Low Points
i – Would anyone volunteer and tell me, whose character’s journey this play was based on? Anyone? We all thought it was Anna but that was not the case. We can come close by saying; it was her father, Saboor whose relationship with two different types of females was shown and shifted except… it was not his story either.

ii – Most of the scenes didn’t relate with the main plot. If Saboor’s love interest scenes were cut short or with the Nanny, it would have not made any difference excluding for the play’s time length was reduced.

iii – There were times where the actors were still performing but no light was focused on them or was too quickly switched off for the transition of the scenes.

iv – There was a musical sequence, that needed to be performed during the play. The audience did witness the dimming of the lights but nothing really happens apart from the music being played in almost pitch darkness for few minutes. Naturally, a technical issue was occurred behind this incident. But no one from the team gave any explanation on it for its absence.

v – A proper production design with its original look would have been praise worthy. The black color sets could have been used in the first two acts, while the original look set design is replaced in the third act to match the tone of the play.

 
+ Overall

Perahan is a beautifully acted play about value of relationships and human emotions understanding that has come to the light.

Rate: 3.75 out of 5 stars