Mantorama sets your senses on fire
Napa graduates impress the audience with a powerful tribute to Manto.
KARACHI:
When young actors take up the daunting task of enacting something as complex as Saadat Hasan Manto’s life, one assumes the performance will be superficial. But with its original script of “Mantorama” written by Khurram Shafique, the National Academy of Performing Art’s (Napa) put up a remarkable performance at the Arts Council Thursday evening.
It may have been a challenge for the director, Napa graduate Sunil Shankar, to orchestrate an experimental play like “Mantorama”, but his ability to inspire the best in his team should not come as a surprise after he pulled off a remarkable adaptation of Peter Shaffer’s “Eqqus” – a challenge in itself. With readings of Manto and live music, “Mantorama” earns itself a place amongst the most stylish tributes that are part of the renowned writer’s centenary celebrations.
The power of voice
“Mantorama” revived the long dead tradition of reader’s theatre. This trend was first introduced to Pakistani theatre by actor Zia Moheyyedin, where he grabbed his audience’s attention with his electrifying voice, which uses vocal expression rather than visual tools to tell a story.
The real star of the “Mantorama” recital was none other than legendary musician and actor Khalid Ahmad, whose voice did wonders for the play. He was accompanied by a few well-known faces such as Nazarul Hasan, Ovais Mangalwalla and Fawad Khan, who tactfully infused a new spirit into Manto’s work by reading “Shaheed Saz”, “Main Film Kyun Nahin Dekhta”, “Sawal Paida Hota Hai” and “Main Afsana Kyun Likhta Hoon.” This crisp and clear delivery of Manto’s works was an impressive start to the evening.
Thumbs up for music
Live music is usually a hit-and-miss when it comes to Pakistani theatre. But the “Mantorama” team silenced naysayers with its contemporary rendition of some of Mirza Ghalib’s best work, when they delivered with simplicity and managed to keep the essence intact. Ahsan Bari should be proud of himself for doing a spectacular job with the music composition and arrangements. Sara Haider, the female vocalist, should be appreciated for her live performance along with Alan Simon, who was on percussions. The background music and sarangi – by Gul Muhammad – were also soothing; all in all, it was pleasant to witness young artists do justice to Ghalib.
The struggle within
The most interesting part of the theatrical rendition of Manto’s life was not his clash with society but rather the conflict he had with his own characters. This is when the characters he had created all his life challenge him and tell him that he exists because of them, making him lose his true identity. This is where the power of theatre is clearly depicted and Shankar deserves applause for making this experience so real for his audience. The only disappointment, however, was Ishtiaq Rasool who played Manto; it seemed that he was in desperate need of some energy drinks as his performance was not as fulfilling as the one he delivered in “Eqqus”.
For those interested in an enchanting experience, the play runs till July 9 every day at the Karachi Arts Council at 8 pm.
Published in The Express Tribune, July 7th, 2012.
When young actors take up the daunting task of enacting something as complex as Saadat Hasan Manto’s life, one assumes the performance will be superficial. But with its original script of “Mantorama” written by Khurram Shafique, the National Academy of Performing Art’s (Napa) put up a remarkable performance at the Arts Council Thursday evening.
It may have been a challenge for the director, Napa graduate Sunil Shankar, to orchestrate an experimental play like “Mantorama”, but his ability to inspire the best in his team should not come as a surprise after he pulled off a remarkable adaptation of Peter Shaffer’s “Eqqus” – a challenge in itself. With readings of Manto and live music, “Mantorama” earns itself a place amongst the most stylish tributes that are part of the renowned writer’s centenary celebrations.
The power of voice
“Mantorama” revived the long dead tradition of reader’s theatre. This trend was first introduced to Pakistani theatre by actor Zia Moheyyedin, where he grabbed his audience’s attention with his electrifying voice, which uses vocal expression rather than visual tools to tell a story.
The real star of the “Mantorama” recital was none other than legendary musician and actor Khalid Ahmad, whose voice did wonders for the play. He was accompanied by a few well-known faces such as Nazarul Hasan, Ovais Mangalwalla and Fawad Khan, who tactfully infused a new spirit into Manto’s work by reading “Shaheed Saz”, “Main Film Kyun Nahin Dekhta”, “Sawal Paida Hota Hai” and “Main Afsana Kyun Likhta Hoon.” This crisp and clear delivery of Manto’s works was an impressive start to the evening.
Thumbs up for music
Live music is usually a hit-and-miss when it comes to Pakistani theatre. But the “Mantorama” team silenced naysayers with its contemporary rendition of some of Mirza Ghalib’s best work, when they delivered with simplicity and managed to keep the essence intact. Ahsan Bari should be proud of himself for doing a spectacular job with the music composition and arrangements. Sara Haider, the female vocalist, should be appreciated for her live performance along with Alan Simon, who was on percussions. The background music and sarangi – by Gul Muhammad – were also soothing; all in all, it was pleasant to witness young artists do justice to Ghalib.
The struggle within
The most interesting part of the theatrical rendition of Manto’s life was not his clash with society but rather the conflict he had with his own characters. This is when the characters he had created all his life challenge him and tell him that he exists because of them, making him lose his true identity. This is where the power of theatre is clearly depicted and Shankar deserves applause for making this experience so real for his audience. The only disappointment, however, was Ishtiaq Rasool who played Manto; it seemed that he was in desperate need of some energy drinks as his performance was not as fulfilling as the one he delivered in “Eqqus”.
For those interested in an enchanting experience, the play runs till July 9 every day at the Karachi Arts Council at 8 pm.
Published in The Express Tribune, July 7th, 2012.