KARACHI: Set against the backdrop of the metropolis, in a small mohalla where it is impossible to escape unscathed from inquisitive eyes, the play Khel Khel Mein initially gives the impression that the male characters will be the nucleus of the production. However, this impression is misplaced; as the play settles in, it is the women who command the stage and their character development is an exciting evolution to witness.

Based on Khalid Ahmed’s original script, director Akbar Islam presented his production on the opening night of the Young Director’s Theatre Festival at the National Academy of Performing Arts (Napa) on Wednesday.

Mr Islam holds a diploma in acting from Napa and has been involved in acting, directing and teaching for the past eight years. He carves out distinct personalities from his characters and takes audiences behind the scenes to the reality of theatre rehearsals.

Mr Islam plays the character of Ravi, who is the director of the play within the play, and is responsible for a bunch of unruly actors who refuse to perform to a script they believe is outdated and didactic. Times have changed, they claim, and demand that Ravi write another script. And so the inspiration process begins with their search for a story.

And at that very moment walks in Samina, (played by Mizna Waqas) who becomes the muse to their script. Expressing her vulnerabilities as a woman living within a patriarchal society, Samina allows her rebelliousness to shine through at several moments. She carries this spark as a burden, however, allowing it to burn only when she is among friends, and never in public. By far she is the most fleshed-out character and definitely the star of the evening.

The construction and deconstruction of Samina’s tale introduces an integral person in her life — her brother Iqbal (played by Hamza Sheikh). Sheikh is a product of his surrounding, and despite much of his characterisation being stereotypical, performs to his strengths.

Extraordinary moments in the play are such due to one specific aspect — the lighting. It is when the director takes the audience to a dimly lit cinema, the colours from the movie being screened creating shadows on the faces of the characters, does one realise how the narrative is not merely dependent on dialogue delivery. The lighting beautifully furthers the narrative, creating drama where necessary.

Banal situations are depicted with nuance and sensitivity, especially when they are concerned with pertinent issues such as harassment and inequity. The tragedy of most of such happenings is in their frequency and yet the play does not try to be instructive.

From narrating how a play is conceptualised, and the very many hiccups along the way of its production resulting in a seamless execution in front of audiences, Khel Khel Mein comes alive with multiple interpretations to daily happenstance.

However, its takes a while for the play to find its voice, and as certain scenes drag on, audience members may find themselves squirming in their seats, waiting for the play’s eventual build-up. But if they hang around long enough, the play eventually finds its bearings.

Khel Khel Mein will be staged at Napa on Nov 19.

Published in Dawn, November 19th, 2015