Time indeed flies. I remember watching An Inspector Calls on one of my trips to London back in 2006. It only seems like yesterday when a select cohort of students was taking turns reading the lines aloud during the rehearsals.
Fast forward to 2023, nearly a month after Zia Sahib’s passing away, I was again at the rehearsals of the play, the first production being staged as a tribute to him, at the National Academy of Performing Arts (NAPA). And, suddenly, his absence seemed very real and hard-hitting.
An Inspector Calls has been watched by countless theatre lovers and critics worldwide. It has won plenty of awards over the years and is what I would consider a true, classic piece of theatre. So, it was no surprise that Khalid Ahmad shouldered the responsibility to adapt to a present-day scenario in Urdu from a 1945 production of the same name by J.B. Priestley. Directed by Khalid Ahmad himself, the investigative crime mystery thriller is being played from 10 to 19 March at the Zia Mohyeddin Theatre. The cast includes Khalid Ahmad (Mr Hayat Fazaldin), Nazr-ul-Hassan (Inspector Saeed Kamal), Masooma Nadir (Mrs Hayat Fazaldin), Ashmal Lalwany (Salman Fazaldin – son), Yogeshwar Karera (Sarfaraz Shan Ali - Sara's Fiancé), and Anusha Khalid (Sara Fazaldin – daughter).
Cracking the plot, the play is set in 1912, right before World War I, and written in 1945. The Fazaldin are an upper-middle-class family living a comfortable life, where Hayat Fazaldin (played by Khalid Ahmad) is a successful factory owner and local politician, and his wife Mrs Hayat Fazaldin (played by Masooma Nadir) oversees the running of the home and sits on genteel charity committees.
On the night in question, the family has every reason to feel smug as their daughter Sara (essayed by Anusha Khalid) is engaged to the wealthy and charming Sarfaraz (played by Yogeshwar Karera). Fazaldin believes that his own name will appear in the right circles, for which they are having dinner to celebrate. The dinner is interrupted by an inspector. The story follows Inspector Saeed Kamal breaking the news of the death (by suicide) of a young working-class girl. The peaceful dinner party is disrupted by the news as each character of the household seems to gradually unravel.
Initially, everyone denies having known her but soon each one reveals how he/she has, in some way, had an impact on her life and contributed to her exclusion from society, her despair, and, subsequently, her death. Inspector Saeed Kamal questions them as he attempts to uncover the truth about each character’s connection to suicide. In doing so, he forces each one of them to self-reflect.
Talking about the play’s adaptation, Khalid Ahmad said, “JB Priestley was a robust socialist himself and his imprint comes across quite strongly in this play. It is about class and gender divide and injustice. The same is increasing at an alarming rate in Pakistan as well. The language has also been partly localised to depict a class that speaks English and a bit of Urdu. Whenever I thought of this play, I always pictured Nazr-ul-Hasan as the inspector. He is one of the best NAPA has produced, as he easily understands the veins of the play. We also had to choose characters who spoke English that portrayed people from Clifton - bridge kay us par,” he jokingly mentioned. Speaking about his directorial role, he said, “I don’t like to interrupt my direction. As long as the actor has done his job responsibly, I let the actors adopt their own creative sensibility. I think a director should not stand in the way of a good performance. Sometimes you feel that the play is going in the right direction, and I let it flow. But when I do feel the need to bring focus, I do hone their skills.”
What was really intriguing was that the suspense kept on building without breaking its trance throughout the evening, while sound and lighting also helped to change the mood when needed. The set design by Raana Kazmi was immaculate, truly portraying the house of the elite and the high-browed, platonically setting them apart from the harsh reality of the working class. And how they’re ‘shut off’ from the ‘real world’.
Yogeshwar, an accounts and finance graduate from the IBA, and a second-year NAPA student, mentioned his qualms and convictions about honing his character, “It was difficult to come to grips with the mentality of the character as it is quite different from my own personality. The character required me to think and speak in a subliminally elite way. We started with extensive readings for about a month from the two months of rehearsals, and these really helped with what we wanted to put across.”
Nazr-ul-Hassan wished to play another character, but he fit like a proverbial glove to the role of the inspector. Lalwany (Salman) was pleasantly surprised to have received the call from Khalid Sb for the role of the son of the house – the most ignored and the most spoilt. “Readings, contemplations, and conversations about the characters really helped in understanding the psyche of the character. The process was very light-headed although it is a hefty production. Mine and Anusha’s character are the only ones who seem to feel remorse in the capitalist society. And it is sad but real that we are all either a part of it, or being affected by it. It is my first NRT play and I feel very lucky to have gotten this opportunity.”
Anusha (Sara), a first-year NAPA graduate, opened up about her character, “When I got a call from Khalid Sb, I was really happy. And when I read the script, I was happier. I feel extremely lucky and blessed to be a part of this play because, for me, my character was really hard. I have learned a lot from others. And Khalid sb makes the actors very comfortable in their roles. What I love the most about the play is that it will stay with you, even after you watch it.”
Inspector Kamal (played by Nazr-ul-Hasan) dominated the stage with his nuanced undertones of melancholy. His compassion and concern for the masses were almost palpable. My favorite character was Sara (essayed by Anusha) as she seemed to be the only person to hold any real remorse, intending to bring change in the way she treated people. Another mention-worthy performance was by the son Salman (played by Ashmal) as he took the blame for his part but didn’t absolve the others from their responsibility. His abject misery was powerful and moving. Although morally flawed, one could clearly empathise with his plight.
The play is genuinely brilliant entertainment for theatre-goers but it serves a larger purpose beyond that. It is more of a socio-politico commentary, reflecting Priestley’s strong socialist principles. Inspector Kamal particularly is a mouthpiece for the writer’s conviction: that it is the responsibility of the ‘haves’ in society to take care of the ‘have-nots’. At many levels, it also exposes the selfishness and hypocrisy of a capitalist society – a timely reminder of many real-life case studies, such as Pakistan, and Sri Lanka.
I usually take time for the crowd to leave the theatre as I contemplate the whole play again in my own headspace before continuing with the chaos of life and immediately starting a discussion about the play. Post-show configuration is one of my favorite parts of theatre nights.
And there were many thoughts that the play left me with – real, austerity-inducing thoughts (Anusha was right!). I said to myself, “if anything, An Inspector Calls is more valid in today's society than it was back in 1945.” It is more relevant today and will leave the audience with plenty of food for thought. The play continues to draw Pakistani crowds with its heartfelt plea for a kinder and just world.
Fast forward to 2023, nearly a month after Zia Sahib’s passing away, I was again at the rehearsals of the play, the first production being staged as a tribute to him, at the National Academy of Performing Arts (NAPA). And, suddenly, his absence seemed very real and hard-hitting.
An Inspector Calls has been watched by countless theatre lovers and critics worldwide. It has won plenty of awards over the years and is what I would consider a true, classic piece of theatre. So, it was no surprise that Khalid Ahmad shouldered the responsibility to adapt to a present-day scenario in Urdu from a 1945 production of the same name by J.B. Priestley. Directed by Khalid Ahmad himself, the investigative crime mystery thriller is being played from 10 to 19 March at the Zia Mohyeddin Theatre. The cast includes Khalid Ahmad (Mr Hayat Fazaldin), Nazr-ul-Hassan (Inspector Saeed Kamal), Masooma Nadir (Mrs Hayat Fazaldin), Ashmal Lalwany (Salman Fazaldin – son), Yogeshwar Karera (Sarfaraz Shan Ali - Sara's Fiancé), and Anusha Khalid (Sara Fazaldin – daughter).
Cracking the plot, the play is set in 1912, right before World War I, and written in 1945. The Fazaldin are an upper-middle-class family living a comfortable life, where Hayat Fazaldin (played by Khalid Ahmad) is a successful factory owner and local politician, and his wife Mrs Hayat Fazaldin (played by Masooma Nadir) oversees the running of the home and sits on genteel charity committees.On the night in question, the family has every reason to feel smug as their daughter Sara (essayed by Anusha Khalid) is engaged to the wealthy and charming Sarfaraz (played by Yogeshwar Karera). Fazaldin believes that his own name will appear in the right circles, for which they are having dinner to celebrate. The dinner is interrupted by an inspector. The story follows Inspector Saeed Kamal breaking the news of the death (by suicide) of a young working-class girl. The peaceful dinner party is disrupted by the news as each character of the household seems to gradually unravel.
Initially, everyone denies having known her but soon each one reveals how he/she has, in some way, had an impact on her life and contributed to her exclusion from society, her despair, and, subsequently, her death. Inspector Saeed Kamal questions them as he attempts to uncover the truth about each character’s connection to suicide. In doing so, he forces each one of them to self-reflect.
"An Inspector Calls" has been watched by countless theatre lovers and critics worldwide. It has won plenty of awards over the years and is what I would consider a true, classic piece of theatre
Talking about the play’s adaptation, Khalid Ahmad said, “JB Priestley was a robust socialist himself and his imprint comes across quite strongly in this play. It is about class and gender divide and injustice. The same is increasing at an alarming rate in Pakistan as well. The language has also been partly localised to depict a class that speaks English and a bit of Urdu. Whenever I thought of this play, I always pictured Nazr-ul-Hasan as the inspector. He is one of the best NAPA has produced, as he easily understands the veins of the play. We also had to choose characters who spoke English that portrayed people from Clifton - bridge kay us par,” he jokingly mentioned. Speaking about his directorial role, he said, “I don’t like to interrupt my direction. As long as the actor has done his job responsibly, I let the actors adopt their own creative sensibility. I think a director should not stand in the way of a good performance. Sometimes you feel that the play is going in the right direction, and I let it flow. But when I do feel the need to bring focus, I do hone their skills.”
What was really intriguing was that the suspense kept on building without breaking its trance throughout the evening, while sound and lighting also helped to change the mood when needed. The set design by Raana Kazmi was immaculate, truly portraying the house of the elite and the high-browed, platonically setting them apart from the harsh reality of the working class. And how they’re ‘shut off’ from the ‘real world’.
Yogeshwar, an accounts and finance graduate from the IBA, and a second-year NAPA student, mentioned his qualms and convictions about honing his character, “It was difficult to come to grips with the mentality of the character as it is quite different from my own personality. The character required me to think and speak in a subliminally elite way. We started with extensive readings for about a month from the two months of rehearsals, and these really helped with what we wanted to put across.”
Nazr-ul-Hassan wished to play another character, but he fit like a proverbial glove to the role of the inspector. Lalwany (Salman) was pleasantly surprised to have received the call from Khalid Sb for the role of the son of the house – the most ignored and the most spoilt. “Readings, contemplations, and conversations about the characters really helped in understanding the psyche of the character. The process was very light-headed although it is a hefty production. Mine and Anusha’s character are the only ones who seem to feel remorse in the capitalist society. And it is sad but real that we are all either a part of it, or being affected by it. It is my first NRT play and I feel very lucky to have gotten this opportunity.”
Anusha (Sara), a first-year NAPA graduate, opened up about her character, “When I got a call from Khalid Sb, I was really happy. And when I read the script, I was happier. I feel extremely lucky and blessed to be a part of this play because, for me, my character was really hard. I have learned a lot from others. And Khalid sb makes the actors very comfortable in their roles. What I love the most about the play is that it will stay with you, even after you watch it.”
Inspector Kamal (played by Nazr-ul-Hasan) dominated the stage with his nuanced undertones of melancholy. His compassion and concern for the masses were almost palpable. My favorite character was Sara (essayed by Anusha) as she seemed to be the only person to hold any real remorse, intending to bring change in the way she treated people. Another mention-worthy performance was by the son Salman (played by Ashmal) as he took the blame for his part but didn’t absolve the others from their responsibility. His abject misery was powerful and moving. Although morally flawed, one could clearly empathise with his plight.The play is genuinely brilliant entertainment for theatre-goers but it serves a larger purpose beyond that. It is more of a socio-politico commentary, reflecting Priestley’s strong socialist principles. Inspector Kamal particularly is a mouthpiece for the writer’s conviction: that it is the responsibility of the ‘haves’ in society to take care of the ‘have-nots’. At many levels, it also exposes the selfishness and hypocrisy of a capitalist society – a timely reminder of many real-life case studies, such as Pakistan, and Sri Lanka.
I usually take time for the crowd to leave the theatre as I contemplate the whole play again in my own headspace before continuing with the chaos of life and immediately starting a discussion about the play. Post-show configuration is one of my favorite parts of theatre nights.
And there were many thoughts that the play left me with – real, austerity-inducing thoughts (Anusha was right!). I said to myself, “if anything, An Inspector Calls is more valid in today's society than it was back in 1945.” It is more relevant today and will leave the audience with plenty of food for thought. The play continues to draw Pakistani crowds with its heartfelt plea for a kinder and just world.