National Drama Festival: A momentary station in a greater effort

ISLAMABAD: In what would be an antecedent of a modern-day trial of freedom of speech, “Shair Ke Aansoo” enacts the struggle of artistic expression but does so more as a vignette than a story arced play.

Presented as part of the National Drama Festival, the play put on by NUST was staged at Pakistan National Council of the Arts on Friday. It will be followed by more performances from institutions across the country in the following week.

Written by Ali Raza (who also acts) and directed by Akbar Mehmood, the play is an antediluvian take on freedom of speech or expression.

The ability to inspire, foment and incite has forever been in the purview of a writer and when this manifests as the political, doyens of whatever era sit up and take notice.

In this particular instance, the troubled ruler is Namrooz, perturbed by the reactionary musings of a poet, Farjam. The lese majeste that the poet commits is something this Mughal ruler cannot abide. He feels that this “inqilab” (revolution) that is brewing must be stamped out before it gains momentum.

Farjam is brought before Namrooz, accused of inciting dissent, his fate already sealed. The accused and the accuser stand before one another arguing their stances but this is the king’s court and not the poet’s.

Farjam is soon executed but his death has a lasting effect, the play concluding with insurrection and a toppled ruler.

Before one launches into a critique it must be stated that the plays within the festival have been formatted to run quite short, the present performance lasting a mere 15 minutes. Within this confine, it is quite a dicey task to ensure a well-rounded effort, time more than quality being the judge of the day.

Of course with this handicap in place one will not be too exacting however, the play appeared more like a glimpse, a momentary station, in a greater effort, episodic rather than serial.

Each monologue or dialogue is often transitioned by a fade to black or a music cue, a steady flow between each scene never really appearing nor a feeling of composure. This repeated effect does tend to break down as its dramatic use fails towards the end, the poet’s execution a confusion of ill-timed lighting and curtain draws.

The acting was adequate though occasionally took on a theatricality. The script was understandably erudite as it dealt with an age when quite cultured Urdu was spoken, yet its effect was never resounding. A particularly ineffectual part of the play was its use of music -- a little too much dependence on the medium when more stage play could have been produced. Overall, ‘Shair Ke Aansoo’ is a passable effort though one would have liked to see the play expanded beyond its short issue.

Published in The Express Tribune, January 8^th, 2011.