Theatre isn’t just a form of escapism but provides a means through which we can challenge social conventions. If the views of the noted playwright Arthur Miller are anything to go by, theatre’s ultimate mission is to “raise the consciousness of people to their human possibilities.” Sceptics believe this observation is somewhat idealistic as social change involves an intricate, evolutionary process. Be that as it may, theatrical performances often inspire audiences to reflect on social injustices. Even if people decide against taking steps to address these challenges, they have gained a much-needed capacity for critical thought, which becomes their lifelong companion.
Experimental theatre may be an acquired taste, but it is undoubtedly a catalyst for critical thought. Unconventional techniques are the lifeblood of such theatrical performances. Experimental plays often incorporate multimedia elements and view the stage as an abstract entity. Audiences, too, are active participants rather than distant spectators of the action unfolding on stage.
A similar effect was conveyed in ‘Fire Morning,’ an experimental play performed at the Arts Council on February 7. Directed by Kulsoom Aftab, the play was touted as “a theatrical response to poetry by Fatima Ijaz.” The poet has penned a collection of poems titled The Shade of Longing and a chapbook called Last of the Letters. As per Ijaz, the play “evolved in an intense period of brainstorming, collaborative playwriting, and rehearsals.” The theatrical response made her “feel that [her] poems had been let loose.” At the same time, Ijaz -- who also acts in the play -- believes ‘Fire Morning’ has enriched her creative voice by allowing it to “escape the bars of the poised world of recitals.”
At first glance, the concept of ‘Fire Morning’ gives the impression of a marriage between the written word and the performing arts. However, the crisscrossing of boundaries doesn’t end there. The play moves easily between English and Urdu -- a sober reminder of Pakistani society’s casual bilingualism. Beyond the blurring of linguistic boundaries, ‘Fire Morning’ takes liberties with the concepts of reality, time, and space to raise some pertinent points about patriarchy and its discontents.
The opening sequence features a sari-clad Ijaz reciting one of her poems. “That fire morning, I woke up,” she says with the authoritative air of a narrator. Her incantatory recitation awakens the ‘Devi’ (played by Aftab) on stage. She is a younger version of the narrator and must reckon with the traumatic realities of being a woman in a male-dominated society. The Devi’s struggle to carve a space for herself amid the clamour of rigid expectations remains at the heart of ‘Fire Morning.’
Every sinew of the production protests on the Devi’s behalf. As a result, spectators witness defiance in all its forms in this hour-long performance. The plot doesn’t follow the predictable arc, most characters don’t have names, and the boundaries between genres are conveniently blurred. Ijaz’s poetry lingers in the air as either portents or symbols of hope. The combined effect of these small yet meaningful acts of rebellion lends a medicinal quality to ‘Fire Morning.’ By the end of the performance, audiences are left with a suitcase filled with questions they can unpack at their own convenience. Miller’s mission is, therefore, accomplished.
Aftab stands out as the uncontested star of the show, whereas Zeerak Khan charms audiences with his admirable versatility. Theatre actor Fawad Khan delivers an intriguing video-recorded performance that could have been seamlessly woven into the larger whole. The rest of the cast immerses themselves in this unusual theatrical treat with a chameleon-like ease.
Overall, ‘Fire Morning’ offers a compelling take on the battle of the sexes through a rich, atmospheric script
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