The fourth NAPA International Festival offers up a variety of plays for the theatre lover, from the inspirational to the thought-provoking.

Dara by Madeeha Gauhar's Ajoka Theatre troupe in Lahore successfully managed to do the latter. Written and directed by Shahid Nadeem, Dara was based on the trial of Muhammad Dara Shikoh, the son and Wali Ehad of Mughal Emperor Shah Jahan.

Who and what was Dara?

Although many of us boast about the rich history of Mughal Empire, there are various parts in that very past which are conveniently avoided in history books: parts that talk about the bloodshed by the emperors against their own kin for the sake of throne.

Dara uncovers these hidden truths — the fact that Mughal Emperor Aurangzeb, got his brothers killed so he could rule over India unopposed.

The play opened with Ameer Khusrau’s famous ‘Aaj Rung Hai’ as the dancers beat their chests, signaling an impending doom—Dara Shikoh (Kamran Mujahid) being taken to prison for he posed great danger to his younger brother’s position as the supreme king of India.

Meanwhile imprisoned in Agra was the former King Shah Jahan (Arshad Durrani) who is accompanied by his daughter, Jahaan Ara (Uzma Hassan) and trusted servant. The daughter doesn’t conceal her hatred for Aurangzeb Alamgir (Usman Raj) whom she knows is in wait to find a reason to take Dara’s life. The starting of ‘Kuch ajab khel kartar k’ when the former king is portrayed haunts as he wails for his mistakes.

Dara who failed as an emperor is known for his love for aesthetics and his struggle to create harmony and ensure coexistence amongst all religions that flourished in Hindustan, an act that clashed with Aurangzeb’s policies.

With Dara arrested, it is the tattered Sarmad Farsi (Nirvan Nadeem), the lunatic fakir who announced glad tidings for the prince who is waiting for a verdict by the king who got perplexed after realising that Dara can mobilise the masses who love him dearly.

It was in the court that the religious figures proposed to Aurangzeb to accuse Dara of blasphemy and nihilism for political accusation would only declare him a martyr so he should be declared ‘Shariat ka munkir’.

Delighted by the proposition, the King commanded them to be extra vigilant when choosing the panel to prove that Dara is an apostate who is a threat to Islam and its teachings. However despite Dara and Shah Jahan’s appeals, Aurangzeb stood firm by his decision to kill Dara who has been proven as a ‘Munkir-e-Deen’ with all thanks to the clerics.

Interestingly, at one point when the three siblings Aurangzeb, Jahan Ara and Roshan Ara (Nayab Faiza) are together, the King pardons his brother comforting the elder sister, only to revoke his words by saying that his forgiveness stands null and void in front of what the Shariah has in store for Dara.

A scene where Dara sat in the middle and consulted a Sikh, a Padre, a Hindu and a Muslim in his imagination exemplifies the inter-faith harmony that is missing from the society we live in with some edging toward the same end as Aurangzeb.

With Dara killed it is Sarmad who is next as he too gives his life and joins the communion of the Sufis and saints.

Dara and its relevance today:

One major reason why plays like Dara are the need of the hour is the ongoing turbulence in our times with extremist fronts seeking ways to take lives of many who want to live in harmony and peace. The recent attacks at various places of worship and discords getting fueled by religious beliefs show that we are regressing towards those same days that we refuse to learn from history. It is plays like Dara which can be an eye-opener for all as it uncovers an important part of history ignored by many.

Although the play was well-scripted, it was Nirvan Nadeem and Usman Raj who were unable to deliver their dialogues with perfection. For Raj it was the loudness that held the weigh for him as listening to him became wearisome, Nadeem on the other hand was applauded for his raqs but perhaps clarity in his pronunciation would have made his word clearer as they got muffled. According to some viewers, there were serious issues with the ‘tallufuz’ and the actors needed to work on their Urdu. Many also held the opinion that when the play was last staged some years back, it was shorter better than this one and that there wasn't any need to stretch it for two and a half hours.