The optimist that sees promise in the future of theatre in Pakistan roots his argument in the sustained theatre activity that has taken place in the last few years. While theatre activists will continue to hanker in the coming years for an increase in audience and an acceptance of stage plays in a regressive society like ours, let us revel in the fact that theatre is here to stay.

In an interview to Images on Sunday, actor and Napa staff member, Khalid Ahmed, does not sound too excited about the future of theatre in Pakistan unless there is a change in the status quo. “Jaisa mulk waisa theatre,” he said nonchalantly. “There needs to be an increase in educated people and an upgrade in the quality of education to support theatre activity in Pakistan. Unless that happens, theatre is likely to remain in the condition it is in.”

Sania Saeed, actor and founder member of Katha theatre group, believes that there is more theatre on offer today which is quite reassuring. “I am happy about the fact that different types of plays are being churned out for the audience,” she said. “If you try to book the Arts Council for a performance, chances are you may end up finding one in April or May due to a pre-booking of other performances.” This should take us well into the following year, she adds.

Finances are a big concern for all theatre groups — private or semi-government like Napa, as they claim to barely make it to the break-even point. However, the observation deduced from short interviews with theatre buffs is that there are a lot more stage plays to draw some kind of encouragement from.

Last year, Napa presented adaptations one after the other, (Othello, Beech Bahar Ki Raat Ka Sapna, Dil Ka Kya Rang Karoon, Khel Jaari Hai); Black Fish founded by Saad Haroon experimented with improv comedy (Aisa Karoge To Kaun Aayga) while graduate students of Szabist, Lums, Napa, Indus Valley School, Lyceum and members of the Sindh Awami Sangat performed some interesting theatre (Khoya Hua Aadmi).

Katha decided to pick up the ropes and run a festival of plays also for children. Its plays drew reasonably big audiences which brought them back the resolve to do more theatre.

While activist theatre groups such as Tehrik-i-Niswan and Ajoka performed exceptional theatre last year, Ajoka was caught in a tiff with the Pakistan National Council of the Arts (PNCA) for refusing to allow them show their play, Dara. Besides, theatre workshops, seminars and conferences talked about more theatre ideas to promote and support theatre effort as a tool to community mobilisation, interactive theatre, etc. All this activity, Sania believes, has been instrumental in grooming the audience.

So what fate could the upcoming year have in store for theatre? Sania expects Napa’s new batch to come out with independent and better performances. Plus a lot of organisations have come forward to support theatre socially, which is encouraging, she says.

On the law and order issue deterring theatre activity, Sania says, “The fact that parents brought their children to watch plays for kids presented by Katha and Tehrik-i-Niswan earlier last year despite a severe law and order situation, was a political statement made by the people that they were fed up with the situation and wanted change.”

And what could deter such a thriving activity in 2011? “Unless there is a big change in the offing, one doesn’t see much change in the course of events in the country, and so theatre will continue to run the way it has,” insists Khalid Ahmed.

“Unpredictability deters every activity and not theatre alone, but I feel that this constant turmoil has also led to making people fearless. They have become insensitive to violence and learnt to live with it. This is our win,” observes Sania Saeed.