ost of the groups that took part in the 27^th Alhamra Theatre Festival are known entities that have been producing plays over the years.

The performances this year included Akhiyan Walio written by William Pervez and directed by Aamir Nawaz for Mass Productions; Teri Jaan Ki Kasam written and directed by Asma Butt for Dolphin Productions; Goongi Joru written by Imtiaz Ali Taj and directed by Zohaib Haider for Creators Productions; Kaho Mujh Say Mohabbat Hai written and directed by Ahmed Bilal for Natak Productions; Railway Station written by Mobeen Ejaz and directed by Nerda Khara for Chota Mota Theatre, Rahay Koi Naghma Gar Salamat by Salamat Productions; Mani written and directed by Taimoor Khan for Gift Film and Television; Akhiyaan written by Rafi Peerzada and directed by Malik Aslam for Azad Theatre; and Teesri Dastak written by Shahid Nadeem and directed by Madeeha Gauhar for Ajoka Theatre.

These groups have been involved in thespian activities for decades. It can be said that their rewards have not been commensurate with the effort involved. Not long ago it was said jokingly that it was a single act: one had to be an actor, director, ticket collector at the same time as the participants’ roles in mounting a production were seldom limited to their early designations. The actors had to design sets; the director was forced to do many things including pulling the curtains; and raising funds made everybody a charity worker.

In recent years, some of the theatre groups have pitched themselves as non-government organisations. This has had the advantage of receiving funds from sources that were previously not available to them. This has also made the job of cutting corners a little less onerous. With funds raised solely through artists’ efforts, it was almost always like scraping the bottom of the barrel.

Some of the plays in the festival have been mounted many times over. These have attained the level of classics. Akhiyaan, written by Rafi Peerzada for the radio, has been staged many a time. In terms of highlighting the potential of the classical Punjabi language it has been monumental. Written in the colonial era, the play had explored the poetic potential of Punjabi for political awakening. After independence, however, it was pushed into the shadows as regional languages were often pitched against the national language as a mutually exclusive binary relationship. Directed by Malik Aslam, Azad Theatre, has been staging plays in Punjabi to rehabilitate the language in its own land. The results, however, have been mixed.

One has seen classics like Akhiyaan and Goongi Joru performed many a time and in different mediums. Their interpretation and production techniques have been thought provoking and added to the body of knowledge about theatre in this part of the world.

Ajoka also mounted Teesri Dastak, which has been played many a time by them. The play has retained its poignancy because the group recently celebrated the fortieth year of its existence. The figure itself is significant and speaks of the effort and the perseverance required to persist with something as non-mainstream as theatre.

It is good to see that over the years the distinction between meaningful theatre and theatre per se has lost its edge and receded into the shadows. Doing theatre has remained foremost the cause. Over its forty years, Ajoka has been a model for others as an act of will and pure perseverance in an artistic pursuit.

There is a concern that most of the plays produced nowadays are repeat productions. This could mean that less effort is being made to redesign and rethink the productions. Classics all over the world are played again and again by different groups. This has been happening for hundreds of years. However, it is expected that such a production will come with a fresh interpretation and its execution will be different from the previous productions. In our country, since the plays are produced and played over and over again by the same group, it is felt that the production should also remain the same. This may not be the case as every new production demands a new interpretation even if it is staged by the same group. One has seen classics like Akhiyaan and Goongi Joru performed many a time and in different mediums. Their interpretation and production techniques have been thought provoking and added to the body of knowledge about theatre in this part of the world.

Alhamra should be felicitated for holding the festival and persisting with a tradition which is their very own being one of the oldest institutions for the promotion of cultural activity in the country.

The writer is a culture critic based in Lahore