Month: April 2019

A review on Pakistani Rom-Com theatre plays, Raaz-o-Niaz and Open Couple (2019). This double feature plays were performed at NAPA International Theatre Festival 2019.

+ Crew

• Costume Designing & Directed by Syed Meesam Naqvi
• Written (Adapted) by Kiran Siddiqui
• Music by Nigel Bobby
• Lighting & Production Design by Nisa Karamatullah
• Produced by Method Productions

+ Note

Raaz-o-Niaz is an adapted play by Fared Uddin Ahmed. The original text was written by Raafi Peerzada. The other play, Open Couple is an adapted Italian play, originally written by Dario Fo in 1983.

Syed Meesam Naqvi graduated from NAPA with a diploma in Theatre Arts and is currently a faculty member at NAPA teaching acting. Since his graduation he has acted, directed many successful plays including Dastan ki Eik Sham, Jungle Mein Mangal Bazar, Rehearsal and Dastangoi. Most notable ones are including Kamla, Kuttay, Mujrim Ya Mulzim, Apartment 746 and Raagni.

+ Full Cast

1. Nazar-ul-Hasan as Niaz
2. Erum Bashir as Raaz
3. Usman Javed as Dost
4. Mohsin Ali Shah as Husband
5. Kiran Siddiqui as Wife

+ Plot (Raaz-o-Niaz)
It explores the poetic beauty of two complete strangers finding solace in each other arms and discovering themselves.

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+ Plot (Open Couple)

In this mockery of marriage sexual tensions, husband convinces his suicidal wife of keeping an ‘Open Marriage’ relationship. But soon, the tables are turned when she confesses to fall in love with another man.

+ High Points

i – Meesam’s direction has raised eye brows of many senior artists and directors. He is certainly making his way to the top to the high ranks of directors with one after another high graded directorial plays.

ii – An ideal adaptation by Kiran Siddiqui for the Open Couple. The changes that were made worked well with this play’s direction.

iii – I love how the treatment of both plays took place. Its credit goes to both, the writer and director for doing a good job.

iv – Great performance given by Nazar ul Hasan as Niaz. Whenever he is in lead role, a remarkable performance from him no less is expected by the audience.

v – Where was Mohsin Ali all this time? His level of performance shows us a very confident, bold actor who waited for his moment to arrive as to say ‘Apun ka time aa gaya‘! It’s a good decision to bring out him in the open for everyone to see and be entertained by his splendid performance. Other Honorable Mentions: Rest of the cast.

vi – With the brightly lit play, the production design including its props was ideal to conduct both of the plays.

vii – The humor was mostly pleasant and at times very hilarious. The mass audience roared with laughter.

viii – The costumes were appropriate according to the characters and the moment they played their roles in.

+ Low Points
I – Since I have already read the original play of ‘Open Couple’, therefore I know how much sex content there is before its adaptation. However, the audience was not mentally prepared for this. Unlike the first play, the second one had too much open and vulgar comments, actions which made some people even walk out the auditorium. It is suggested to warn the audience before the play takes place.

+ Overall

What makes Raaz-o-Niaz & Open Couple stand out is its extreme commitment to the material, its relentlessly sex-positive approach, and its sneaky talent to be both naughty and savory.

Rate: 4.50 out of 5 stars

A review on Pakistani Drama theatre play, Pagla Ghoda aka Mad Horse (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Costume Designing, Production Designing, Written (Adapted) & Directed by Naz
• Written (Original) by Badal Sarkar
• Lighting by Masood-ur-Rehman
• Sound Design by Bhatti & Anil Tahir Azaad
• Produced by Zarq Productions

+ Note

Pagla Ghoda is an adaptation of a Bengali play, written in 1967. It is about hidden truth, true love and dark secrets of four losers who nothing to do then to get drunk and play cards. They have suppressed their tragic memories deep down into their very souls and drink to forget the pain. The underlying theme of Pagla Ghoda is patriarchy in the Indian society and its influences on both men and women.

In this play, every character has a question in every dialogue.

+ Full Cast

1. Saad Zameer Fareedi as Kartik
2. Marya Saad as Larki / Milli / Maalti / Lakshmi
3. Syed Arsalan as Shashi
4. Muneeb Baig as Himadray
5. Mujtaba Zaidi as Saatu

+ Plot

A group of four men get drunk while playing cards near a burning pyre in a crematorium. After cremating an unknown woman, they start philosophizing about life in the shadow of death. But what they are actually doing is slowly discussing their lost love.

+ High Points

i – ‘Tara, tara maa…’ a dialogue that is often spoken by the character, Kartik played by Saad Fareedi. Besides his solid performance, the character repeats this dialogue on & on, with an excuse to comfort himself. But personally, what I believe (which was indirectly applied) that the reason behind this would be bringing himself back to the reality from the tragic, guilt ridden past that can never be changed.

The adaptation by the writer of this hit, Bengali play would be cherished with fond memories by the everyone who watched it. If it weren’t for a quality adapted play, even the solid performances by the cast may had not looked that believable or interesting anymore.

ii – Naz’s direction has improved a lot by the given time since she has debuted her entry as a director. I wouldn’t say much now as more of her work needed to be watched before deciding where her directorial plays are heading to. As for now, good work!

iii – No surprise here, Syed Arsalan gives a realistic performance as Shashi, one of the tragic characters of the play. I am very pleased to see him to grow stronger as an actor with his every performance that I be able to witness. If he keeps on improving like this, then it would not be long where his name would spoken among the great stars of our industry…

iv – Marya Saad plays four different roles belong to four separate stories told by the men in their drunken state. Anyone can see that how much energy and hard work she has input to give one of the best performances by any actress given in this festival.

v – A very talented actor, Mujtaba Zaidi gives his best performance as Saatu, who has mysteriously, great fear of dogs. In a way he was a comic relief and one of the four tragic characters that Mujtaba played side by side. Perhaps, from now on wards he should be playing characters in lead roles. Other Honorable Mentions: Rest of the cast.

vi – Instead of praising each and everyone here, the performance by the entire cast is of high praises and are memorable. All performers did an excellent job.

vii – The lighting is properly, effectively handled especially recalling life of the past.

viii – The costume designing is suitable with the roles were given. Thumbs up!

ix – Nice work behind its sound design; helped in creating the ‘Real World’ feel.

+ Low Points
i – The different characters played by Marya, should have changed wardrobe as well. People who are not familiar with the play, in the start would see her being the same character linked with all four stories. By having different names, body language or putting up a different scarf is not enough.

ii – Inclusion of a proper original score to be played where it is required the most, such as going back to flashbacks, transition of scenes would benefit the play’s quality.

iii – Being a Bengali play, the accents of the characters that the performers were portraying, were not maintained. This needs to be taken care of.

iv – Further improvisation is needed on the production design. Although, the props were appropriate.

+ Overall

Pagla Ghoda is a rare play, literate, deeply moving and gifted with absolutely overwhelming performances by the entire cast.

Rate: 4.50 out of 5 stars

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

+ Crew

• Written (Adapted) & Directed by Bakhtawar Mazhar & Zain Ahmed
• Music Directed by Nigel Bobby
• Produced by Dhanak Arts

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+ Music

• Alan Malik
• Khateeja Imtiaz
• Muqaddas Saleem
• Natasha Sharif
• Joshua John
• Eden Rose
• Cynthia Rose
• Angeli Sarfraz

 
+ Note

Heer Project is an adapted play of Heer Ranjha, originally written by Waris Shah in 1761. It is a famous sad, love story from the Punjab (now in Pakistan). Because its plot involves a romance opposed by family members and ends with the two lovers dying, the story is often compared to the Shakespeare play Romeo and Juliet.

 
+ Main Cast

1. Shabana Hassan
2. Hajra Yamin
3. Syed Maha Ali
4. Bakhtawar Mazhar
5. Mariam Saad
6. Masooma Nadir
7. Zashanne Malik
8. Vaajdan Shah

+ Plot
This great tragedy is retold through the eyes of Heer, incorporating modern poetry as well as dance and music to retell the iconic love-tale from a feminist perspective.

+ High Points
i – I don’t remember praising respected Zain’s play without giving major credit to his exceptional direction. Though, this time it’s with the combined efforts of Bakhtawar Mazhar has bought new light over her directorial work. If we speak for him only, he has trained many young directors under his wing and still continue to do so.

From the storytelling to love insights of Heer; the way sudden ‘Drop Dead’ scenario takes place, it immediately hails the brilliant thinking by both the directors on this play’s treatment especially its end and the idea behind the high intellect ways of its visually design. At every major step, his trademark of extraordinary direction can be seen (in collaboration with his co-director) clearly.

ii – Handpicked by the director himself, the musicians played an important role behind the play’s success.

iii – I would love to shake hands to the person/s responsible for the dance choreography & the body gestures. Zashanne’s flexibility and Vaajdan’s agility made them look like a perfect couple dancing gracefully on-stage. Excellent work!

iv – A different take of adaptation and its concept has fruitfully executed to its perfection.

v – The script, punch lines were interestingly written… pulled the audience closer.

vi – I really liked the production design, how it was presented as. It had enough room for the musicians and spacing for the performers and dance couple to play their part easily. Good job!

vii – The makeup & hair styling department did a fantastic job on their characters.

viii – The costumes were beautifully designed, made their characters look elegant on-stage.

ix – The use of projection design was not used for reading but for presentable reasons only. As to say, part of the production design. It was a good call.

+ Low Points
i – Although the design of the lighting was well thought over. But the handling of it was clumsy as after the performer steps in her placement, only then the lighting was switched on. This happened many times throughout the play.

ii – Don’t get me wrong, the performances by everyone were good but... as per the performers’ names in the cast, the expectations from them were much higher.

iii – Ranjha played by Vaajdan Shah looked much older than Heer, played by Zashanne Malik, with whom he was dancing with. Perhaps a better makeover would have improved his look?

iv – Who wears joggers in dresses like these? If the shoes can be seen by the spectators (without difficulty) then they would be considered a part of the costume designing.

 
+ Overall

Heer Project is a modest romance, where it’s challenging new treatment including its superb direction, has made its way in being both visually and emotionally moving.

 
Rate: 4.50 out of 5 stars

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

+ Crew

• Costume Designing, Production Designing, Written (Adapted) & Directed by Kashif Hussain
• Written (Original) by Henrik Ibsen

• Produced by Silence Theatre Productions

 
+ Note

Dottok-e-Lug is a Balochi-Brohi-Pashto play, which is an adaptation of ‘A Doll House’ published in 1879. The play is significant for the way it deals with the fate of a married woman, who at the time in Norway lacked reasonable opportunities for self-fulfillment in a male-dominated world. It aroused a great sensation at the time, and caused a “Storm of outraged controversy” that went beyond the theatre to the world newspapers and society.

 
+ Full Cast

1. Ghazain Abbas as Attaullah
2. Najma Kifayat as Nazaneen
3. Shahab Khan as Gohram
4. Aisha Bakhtyar as Palwashay
5. Hafeez Lehri as Dr. Dostain
6. Samina Sehar as Maasi Mastun

+ Plot
In order to protect her secret; Nazaneen tries to defend one of Attaullah’s employees who know that she is misleading her husband. Attaullah insists on firing the employee. Gohram, the fired employee, sends a letter to Attaullah detailing Nazaneen’s deceit.

 
+ High Points

i – It would be a good decision if Kashif Hussain focuses more on direction, for us spectators to see more of his work. Dottok-e-Lug turns out to be a well-received directorial play.

ii – Adapting the novel into a Balochi-Pashto-Brohi play takes some real effort to do that. Kashif Hussain has able to do that with flying colors.

iii – My dear Najma Kifayat plays one of the main roles as the loving wife, Nazaneen. God! It’s seems to me like… ages have passed when I last saw her in a main role and was this much good. Even for a foreign language play, Najma has given one of her best performance for this role. I wish her all the best for her upcoming plays.

iv – Ghazain Abbas as the proud husband, Attaullah gives a very satisfying performance. I am happy to see him playing a lead role for he deserves it. Other Honorable Mentions: Rest of the cast.

v – The director gave his heart out when it comes to production design. Rarely, someone does that to his set. But still further improvisation can be done, to fill the negative gaps of the walls by props such as more pictures or paintings or by furniture like side table.

vi – It was a wonderful idea to include music, during the transition scenes.

vii – Generally, the lighting was okay. No issues here. Though, I liked the way it was fallen on the center painting during the scenes transitions. Good move!

viii – I think this is the first performance I have watched where the actors performed behind the curtains as well. The audience could hear their voices clearly.

ix – It is good to see more new / uncommon faces in the cast. This way the director gives other performers the chance to grow themselves as actors and be highlighted by the critics & the audience alike.

 
+ Low Points

i – The play is still lacking its humor and pleasant moments. The character, Dr. Dostain tries to fill that gap but it was not enough. Keeping in the view of the original content, the writer should come up with its improvisation in this missing element. Otherwise, the play is walking a straight line of ‘All too serious’ just drama only.

It is suggested to make some room for light, brief humor by extending some scenes of Dr. Dostain or other characters appropriate with it.

+ Overall

Dottok-e-Lug is an all-rounder when it comes to its adaptation; some really nice acting on display here.

 
Rate: 3.75 out of 5 stars

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

+ Crew

• Lighting, Costume Designing, Production Designing, Written (Adapted) & Directed by Shahnawaz Bhatti
• Co-Lighting, Co-Costume Designing & Associate Directed by Shahjahan Narejo
• Produced by Aashkara Arts Production and Simpa Jamshoro

 
+ Note

Leela Chanesar is a Sindhi play, which is adapted from the traditional story (Leela) that dates back to the time of Jam Chanesar. He was one of the Soomra rulers in 14^th century at Thatta, Sindh; Pakistan. It is often retold in Sindhi and Persian languages.

The story also appears in Shah Jo Risalo and forms part of seven popular tragic romances from Sindh, Pakistan. The other six tales are Umar Marvi, Sassui Punnhun, Sohni Mehar, Noori Jam Tamachi, Sorath Rai Diyach and Momal Rano commonly known as ‘The Seven Queens of Sindh’, or ‘The Seven Heroines of Shah Abdul Latif Bhittai’.

+ Musicians

• Anu Solangi as Vocalist
• Ustad Akhtar Hussain as Sarangi Mairaj Dholk

 
+ Full Cast

1. Aqsa Ahad as Leela
2. Fatima Rind as Kounro
3. Sheeraz Khan as Chanesar
4. Shifa Agha as Jimny
5. Pushmina as Raqasa
6. Aisha Mehak as Murki
7. Shahbaz Baloch as Khanghar
8. Anu Solangi as Jakhro
9. Ahsan Ali as Azaad
10. Shahjahan Narejo as Farishta / Angel
11. Erum Bashir as Nanchnay Wali / Dancer

+ Plot

Leela a spoiled but pleasure loving wife of Chanesar, is so enticed by another woman’s necklace that she allows the woman to spend one night with her husband. Furious that he had been ‘Sold’, Chanesar divorces his wife. Leela has to undergo a long process of purification until she is once more acceptable to her husband.

+ High Points
i – This play has made his mark by bringing in a strong playback singer. The audience were pulled closer by the singer’s stunning voice to the play’s tragic theme of guilt and redemption.

ii – The costumes were appropriate and suitable on the characters.

iii – The lighting was taken care of carefully. Good job!

iv – Good work behind the makeup & hair styling. The characters were depicted as per script’s demand.

v – Beautiful music was composed for this play. The effect on the audience mood was drastically improved as the story moves forward.

vi – The writer was able to treat this play with a different scenario. Instead of watching the current state, the audience was taken back to the flashback… from where it all started.

+ Low Points
i – The performances were good but they could have been great.

ii – Since the production design consisted of three different locations simultaneously, thus the space for blocking was very limited.

iii – The set design was generally simple. It has more room for improvement which is direly needed.

 
+ Overall

Leela Chanesar succeeds in both, dramatic effect and human touch.

 
Rate: 3.50 out of 5 stars

A review on Pakistani Bio-Drama theatre play, Doleh Darya Khan (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Directed by Ali Roshan
• Written by Aagha Saleem
• Production Design by Habib Burdi & Badar Khan
• Makeup & Hair Styling by AB Otho
• Produced by Half Fry Theatre Group

 
+ Note

Doleh Darya Khan is a Sindhi play, based on during the reign of Jam Nizamuddin of the Samma Dynasty (1461 – 1508). This historical play will explore the events that led to the death of Doleh Darya Khan.

This play is co-directed by Nadir Hussain who happens to be NAPA’s graduate student.

 
+ Main Cast

1. Nizam Chandio as Doleh Darya Khan
2. Haya Noor as Hemoo
3. Ashiq Dayo as Jam Nizamuddin
4. Fozia Samo as Rani Marki
5. Sajan Khan as Jam Feroz
6. Riyaz Hussain Soomro as Kahoo

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+ Supporting Cast

1. Sattar Lar as Lakheer
2. Sajad Soomro as Hameer
3. Ali Baba as Peghami
4. Amjad Gul Soomro as Mir Qasim Qebki
5. Piral Karmani as Darban#1
6. Sudheer Chandio as Darban#2

+ Plot
A famous patriotic warrior, Doleh Darya Khan is the chief of his army and savior of Sindh. Due to his bravery & noble efforts, no enemy would dare attack Sindh while DDK is in authority.

+ High Points
i – An intriguing performance given by Riyaz Hussain Soomro as the queen’s drunken brother, Kahoo. Not only did he perform well, his character was very interesting to watch. The play grabs real life into it when Riyaz makes his entry.

ii – Having an appropriate sound design on-board was an excellent idea. It helped in understanding the given situation and transiting the scenes of the story line.

iii – The costumes designing was detailed and most suitable with characters’ profile.

iv – Amjad Gul plays a minor role as Mir Qasim Qebki but it was worth it. People were waiting for him to make his appearance. Even in such a small role, he successfully makes the audience laugh with his comic performance. Other Honorable Mentions: Ashiq Dayo, Sattar Lal and Nizam Chandio

v – The makeup & hair styling made the performers glamour under the lights. Their younger and aged characters matched with the performers’ portrayal for what they were given to play.

+ Low Points
i – I can understand that Amjad Gul plays comic characters only. But he is your ‘Trump Card’. It is advised to use him wisely by giving (if not lead then) at least a major role for him to play. In previous NAPA’s International Theatre Festival, Amjad was announced as a winner by me in the supporting role because of his brilliant performance.

If the play, Doleh Darya Khan does not have a comic relief character then make one (fictional) so that he could be part of your play as one of the main characters. For your kind of information, no ‘True Story’ is ‘The’ actual 100% true story. Some parts of it are always fictionalized.

Here too, it is strongly suggested to follow this path. Amjad Gul is a gifted performer who brings smiles to every age of spectator when he appears on-stage.

ii – A play based on one of the legendary warriors of interior Sindh, inclusion of a playback singer is a must!

iii – An addition of a proper music / score should have been a part of this play. Without it, the play is ‘Dry’ for the audience.

iv – Although the set design was properly constructed but it was visually basic in quality. Raise your stack by pouring more effort and budget for better, authentic look of production design. If this play is to be performed in big festivals such as NAPA’s International Theatre Festival, Sindhi Theatre Festival at Arts Council or for commercial reasons, then such production designs should improve.

v – The director should come up with a comprehensive play based on Doleh Darya Khan’s bio. I for instance, thought that this play was based on his life but in fact was merely based on some events only.

 
+ Overall

Despite its shortcomings, Doleh Darya Khan is a good attempt based on the portrayal of a fallen renowned warrior.

 
Rate: 3.0 out of 5 stars

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

+ Crew

• Directed by Nazar Ul Hasan
• Produced by Dastango

 
+ Note

Dastangoi is a term made up of two words, Dastan which means Epic, and Goi means to Tell. This is used to be an oral storytelling tradition that dies in the early 20^th century. This form of storytelling was very popular but in modern times, people are unfamiliar of it and their cycle of stories.

NAPA has conducted their festival plays and music performances in different Pakistani languages such as in Sindhi, Punjabi and continues to do so to invite more audience towards their theatre world.

 
+ Full Cast

1. Fawad Khan
2. Nazar-ul-Hasan
3. Syed Meesam Naqvi
4. Naz

+ Plot
Tales from the Adventures of Amir Hamza aka Dastan-e-Amir Hamza, five of Ayyar Bachian from Tilism-e-Hoshruba including an original contemporary Dastan are been told through the group of four performers.

+ High Points
i – A very entertaining performance given by Syed Meesam Naqvi as one of the storytellers. I could never imagine him to play such a vulgar role but in a very comic manner. Even today, he still has many surprises hidden underneath his sleeves.

ii – Speaking of vulgarity, it was Fawad Khan who takes the bigger share with yet another comic story teller with a detail account of a king with having massive gastritis problem whose story became a legend as per his descriptions. Even after his warning to the audience for proceeding towards obscene jokes, no one had thought of how much serious he really was.

iii – The humor was very open than being funny as the jokes were being played too much on the nose. Though, it all depended on the style of storytelling.

iv – I don’t remember even once glancing over my wrist watch. The play was highly entertaining.

v – A simple and formal style of production design was needed here.

+ Low Points
i – I admit that the play was very amusing where most of the people were enjoying it a lot. Still, no one could disagree that the ratio of toilet humor was used, it was too much to bear. The performer crossed all lines for it with no point of return.

ii – Such plays are not the kind of taste a family or formal guest would prefer to enjoy; especially when they have not anticipated from it. They would in fact, deem such plays as unwatchable.

iii – Does Naz really has something new to do? Repeated roles won’t get her any further in career than this.

+ Overall

Dastangoi on its face is so damn silly. But the cast’s strong commitment to the art of storytelling makes it work so well.

Rate: 4.0 out of 5 stars

A review on Foreign Musical-Drama ensemble play, Playlist (2019). This play was performed at NAPA International Theatre Festival 2019.

+ Crew

• Written, Directed & Produced by A Collaboration

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+ Music:

1. Yusuf Kerai
2. Shehroze Hussain
3. Elmira Bahrami
4. Ahsan Bari

 
+ Note

Playlist is a collaborated Pakistani-German play which is performed in English and Urdu languages. In 2014, the US senate intelligence committee’s report on the CIA’s torture methods in American prison camps (Guantanamo Bay, Abu Ghraib, Bagram and many more), which shook the world on revealing the bizarre, inhumane ways of torture at these camps. One of these tortures were to listen to American pop songs (Playlist) played on a loop and at extremely high volume.

The similarity to the science behind the choice of these ‘Happy’ & ‘Bright’ songs instantly recalls me the British film, Clockwork Orange (1971) where the protagonist was forced to watch and listen to the selected scenes & songs by the psychologists / scientists that were kept played in loop to the prisoners who were handpicked chosen for their strange experiments. Perhaps the psychologists in real life were inspired by this film.

Playlist depicts humans’ one of the most tragic and unspeakable acts of tortures on the face of this world. For making this play possible, the support of the international co-production fund of the Goethe Institute, Be Globle funding and NAPA.

 
+ Full Cast

1. Sunil Shankar as Prisoner#1
2. Fawad Khan as Prisoner#2
3. Joshinder Chagger as Narrator #1
4. Jakob Weiss as Narrator #2

+ Plot
A musical production that is part investigation and part meditation on this abuse of music and human body & soul.

+ High Points
i – The tremendous efforts behind its collaborated direction and the treatment of the play successfully works its way out. The audiences were not only shocked but very moved by it. The question is not ‘What’ they are shown but ‘How’ it was shown as.

ii – Standing ovation performance given by the two veteran actors, Fawad Khan and Sunil Shankar. They are one of the ideal actors to perform this dark play in the shape of reenactment or a mere glimpse of the unimaginable horrors that occurred inside the facilities of different infamous US prison camps.

iii – The musical performance consisted of tablas, sitar, violin and guitar instruments with all four being the vocalists, were not only heart touching but gripping as well. It is beautifully composed with every scene and blends in with the performance easily.

iv – The usage of the lighting was limited and effective. At some places, the placement of the light was intended not to show the actors’ face clearly. It was kept partially covered in the shadow by using different lighting techniques, such as ‘Face Framed in Shadow’, ‘Split Lighting’ and ‘Chiaroscuro’. It usually depicts that character as ‘Hidden’ or the ‘Person with unknown history / origin / motives’. But in this play, it showed them simply as ‘Subjects’, where their lives didn’t matter. This is what the facility makes their prisoners as. The two characters were kept mostly in darkness, with the light fallen on their faces only slightly.

v – The creativity behind every step the character takes, every move the director made and the numerous ways the victims’ body is shown being torture horribly on-stage. All this worked out brilliantly, without the use of visuals in depicting the explicit torture sessions. Most of the different torture scenes were briefly described only but not shown. As its depiction is beyond human’s imagination and sane mind to bear. This was a notable & clever call by the team to leave for the spectators to use their imagination instead.

vi – The symbolic body movements and the hidden gestures made by the performers during their torture scenes would haunt the audience till their very memories.

vii – Even though the script is limited as most of the performance is silent. The hope for unity and freedom against any unjust and evil doers is spoken during the torture session are very emotional, tragic and plays closer to the heart.

viii – Since the subject is dark & sensitive, therefore there was no need for the production design. A limited number of props were shown in certain scenes only. The focus of attention of the audience was required at the two characters.

ix – God! I can never listen to the title song of Sesame Street the same way ever again! This is the beauty of it. It is how real the play was presented and performed as. It made the audience felt for it.

x – The costume design is purposely used in black and uniformed state… similar to the theme of this play.

+ Low Points
i – These kinds of plays are for certain targeted audience only.

ii – Most of the people would prefer watching this play, once in a lifetime.

+ Overall

Terrifying, shocking and difficult to digest, Playlist offers a haunting insight to the inexplicable form of extreme torture testimony of humanity’s most shameful acts of power abuse.

 
Rate: 4.50 out of 5 stars