Written by: Hurmat Majid
Posted on: May 27, 2024 | 
| 中文
(L to R) Farhan Alam Siddiqui, Kashif Hussain and Kiran Siddiqui
In the annals of theatrical history, certain productions transcend the ordinary, etching themselves into the collective memory of audiences and critics alike. Ek Yad, a psychological drama written and directed by the visionary Farhan Alam Siddiqui, has achieved such a feat. Starring the incomparable Kiran Siddiqui and Kashif Hussain, this play weaves a love story in a manner that is both groundbreaking and profoundly moving.
Kiran Siddiqui and Kashif Hussain in a scene of Ek Yad
The initial performance of Ek Yad at the Pakistan Theatre Festival was nothing short of spectacular, culminating in an 8-minute standing ovation, an accolade rarely witnessed at the Arts Council of Pakistan, Karachi auditorium. This ovation was a testament to the play's powerful resonance and its ability to captivate and move its audience deeply. The play was performed again at Arts Council of Pakistan, Karachi over this weekend as an independent entity and received the same overwhelming response.
Kashif Hussain, reflecting on the audience's overwhelming response, remarked, “I was sure the play will get the response it got. Even during the first run of rehearsals last year I would tell Farhan, ‘yahan gayi audience’ (this is where the audience will be won over). I believe the play did this well because we were telling the truth about a relationship. The truth, coupled with pain, will always have a lasting impact on the audience.” His confidence in the material and the truthfulness of its portrayal clearly paid off, striking a chord with viewers and leaving an indelible impression.
Kashif Hussain in OTT (Over-the-Top) serial Churails
Kiran Siddiqui, whose portrayal was equally lauded, approached the project with a mix of caution and dedication. “The thing is, that I am literally working with a couple of geniuses and their minds run on 100 miles per hour, and so honestly, that in the first run I was so focused on nailing my own character, her complexities and her emotions that I was not really concerned about anything else. This time around of course I wished that we do well, but since this was an independent run, I did have my fair share of fears, but we did well and that has made me happy,” she said. Her meticulous attention to her character’s intricacies added a layer of depth to the performance, enriching the narrative and enhancing the audience's experience.
Farhan Alam Siddiqui, the creative force behind Ek Yad, revealed the personal nature of the story. “The play is really close to my heart for it is a story that I saw happening around me, so it is very personal. I was more concerned in making the audience accept serious drama as a part of theatre, rather than ensuring the play’s popularity. I wanted them to like it, but never in my wildest dreams did I believe that I will get the response that I did with this play.” His dedication to presenting serious drama and challenging the audience’s expectations, found resonance with the audience and was enthusiastically received.
Farhan Alam Siddiqui (L) as an actor
While the commercial success of a serious drama is often uncertain, the cast and crew of Ek Yad held different expectations. Both Kiran and Kashif did not expect much commercial success, given the prevalent association of theatre with comedy in Pakistan. Farhan, however, had faith in the play’s potential to draw audiences gradually. “I believed that even if the audience did not fill up the whole auditorium on the first day, they will like it so much that they will recommend it to other people, and on successive days the size of the audience would increase. And that is what happened eventually,” he said. His foresight and confidence were vindicated as word-of-mouth praise drew larger crowds with each subsequent performance.
The response of the audience to the play was overwhelming
Kashif Hussain also touched upon the broader context of creating original theatre in Pakistan. “We cannot decouple our theatre tradition from classics like Shakespeare, but at the same time, the moment we start recognizing who we are as a society and start telling the truth about ourselves, we would succeed in producing good theatre.” His assertion underscores the importance of authenticity and self-reflection, in developing a robust and meaningful theatrical tradition.
On the topic of theatre's resurgence in Pakistan, Kiran offered a hopeful perspective. “I believe theatre can become popular again and a form of mass entertainment, if investment came into the industry from the private sector.” The governmental support is essential if artists and creatives are to survive. Zia Mohiyyudin sahab once pointed out that Ghalib was able to be Ghalib because his monthly stipend was coming from the king himself. Without that Ghalib would have been too worried about making ends meet to create poetry.” Her argument highlights the critical need for financial support to foster creativity and sustain artistic endeavors.
Kashif, reflecting on the legacy of theatre in Pakistan, stated, “I believe the golden age of theatre in Pakistan ended when Zia Mohiyyudin passed away. I think while he created a number of mini versions of him, it will take years of perseverance and passion for us to get to that level and I don’t think that will ever happen.” His somber assessment serves as a reminder of the challenges ahead, but is also as a call to action for the current generation of theatre practitioners.
Kashif Hussain and Kiran Siddiqui
Ek Yad is more than just a play; it is a powerful statement about love, truth, and the human condition. With its profound narrative and stellar performances, it has set a new benchmark for theatre in Pakistan, promising a future where serious drama can thrive and resonate with audiences on a deeply personal level.
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