Karachi: The last offering of the ‘Napa-I Am Karachi Theatre and Music Series’ was a crowning achievement for all those involved.
This dramatic venture brought together young actors and directors to showcase their talent for a larger audience, with the intention to share their view of the city of Karachi. Juloos by Free Souls, staged at the PACC on Saturday evening, presented the audience with an experimental setup.
The manner in which the auditorium was set raised the excitement level of many. Instead of the conventional use of the stage, the space allotted to the audience was cleared in the middle. The actors then used this space, in close proximity to the crowd that had assembled.
This was a rare treat and the presentation that followed was exceptional. This dramatisation, a very modern and contemporary style, allowed the audience to be in the midst of the action and be part of the play; no longer were they mere spectators. This raised the accountability of each and every person present, which was the play’s strength.
The direction was handled by Napa graduate Hassan Raza, who made sure each character remained in synch, and established cohesiveness within the actors from the moment the play began. There was the use of the theme of juloos, be it in the form of protest, establishing political affinities, reinforcing religious dichotomies or just to grieve the loss of a loved one.
The multiple problems present in society and their impact on the different classes of people within it was the thread that took the narrative forward. Be it on the downtrodden, who must survive the harsh realities of life, both natural and man-made, or the privileged class, who can escape these negative conditions by bartering themselves for material gain or possessions.
Using the character of a missing child, the entire play was woven around the daily occurrences that he witnesses. His progression was represented by two commendable actors and the older character in particular was compellingly portrayed by Napa graduate Hammad Siddiq. Another actor who deserves appreciation was Saad Fareedi.
The allure of the play was in its ability to change very quickly from one frame to the next. In one scene a murder is shown, and in the next we are taken into the streets where men and women from different quarters of the city are trying to earn a living. Time and again we are taken to a juloos, sometimes with chants pledging political affiliations, or others displaying different sectarian threads within the country.
In one particular horrifying scene, the actors show the different ways in which people die every day — some are murdered for money, others for personal vendetta; some unfortunate souls are in the wrong place at the wrong time, while some lose their lives through capital punishment meted out by the state.
The truths shown drew laughter from the crowd, but were horrifying in their seriousness. Questioning the evolving definition of nationalism that is being used to loot, murder and destroy others, the actors played each scene with bravado. The aim to present the apathy of various institutions, the government, the armed forces and more importantly the common man, the play satisfied the brief.
Soliloquies and monologues allow moments of contemplation from the rapid occurrences that are shown. Not only was this a form of dramatic relief, but allowed the message to sink in rather than being lost in the hustle and bustle of the play.
Juloos can be considered a satire on the many banners in the country used to unite — nationalism, hatred for our neighbouring country, India, political parties, communism, and most importantly religion. Under all these banners only the weak and poor are enslaved. It is they who suffer and compromise their dignity, their peace of mind and at times their lives. Men drunk on power and wealth, far and few, are the ones leading this country, predictably to its doom.
There are moments when the monologues became a bit tedious, especially when existential questions are raised. This allowed the attention of the audience to waiver and thus the play could benefit from a slight edit.
Juloos presents how many deaths a common man faces in his life. The answer to which is every day, he dies a little.
