KARACHI: In performing arts, the world of theatre, inarguably, is the most challenging one for the simple reason that it doesn’t allow the actors (I repeat: actors, not the backstage team) to make too many mistakes because there’s no chance of, or time for, recovery and redemption.

And whenever a play, which has only a couple of characters, is staged, the challenge becomes manifold. Why? Answer: the two have to feed off each other’s energies and overlook, as soon as possible, not only your own goof-ups but your partner’s as well.

The penultimate drama put up on Sunday evening by the National Academy of Performing Arts (Napa) at its ongoing Young Director Festival was Ullu Aur Billi an Urdu adaptation — by Saqib Khan and directed by Ansaar Mahar — of Bill Manhoff’s play The Owl and the Pussycat. It revolves around two characters, Sharafat Ali (Syed Qasim Shah) and Naina (Hani Taha).

As is often the case in a two-person story, Sharafat and Naina come from different, but not diametrically opposed, backgrounds. He teaches at a school and is an aspiring writer. She pretends to be a model and is actually a ‘call girl’. Now showbiz, even at a pretentious level, and writing (if the latter can be called a profession) are not distant cousins who live far from each other — they are, in a way, related. Therefore the romantic tension and the creative connection are there for the audience to feel.

Ullu Aur Billi is Urdu adaptation of Bill Manhoff’s play The Owl and the Pussycat

The action begins when Naina comes knocking heavily on Sharafat’s door because she’s been evicted from her apartment. Sharafat is initially reluctant because she is extremely garrulous, under-educated and doesn’t seem to have any filters when she speaks. He, at least initially, is a careful user of the Urdu language, since he’s a writer — the contrast between the uncouth and the unschooled is played out. After an exchange of heated and occasionally funny lines where Sharafat resists her presence at his place, and she falls for him, he takes a shine to her. But then, her profession keeps returning to haunt him.

Ullu Aur Billi works with a tried and tested idea reasonably well. It’s a good production. Syed Qasim Shah and Hani Taha do a nice job. Hani seems to have nervous energy in abundance. Energy it is, make no mistake. But once she’s able to get rid of the nervousness, she can do much better.

Also, the play could’ve been edited to tighten the structure. All said and done, it had the audience’s undivided attention, which is what counts in the real sense.

Published in Dawn, March 29th, 2022