he recent staging of The White Plagueat the Arts Council of Pakistan, Karachi, was a thought-provoking exploration of power, disease and the unsettling parallels between past and present. Set to make its way to Lahorefrom September 4, this morbid satire sheds light on the devastating consequences of war and the spread of a deadly virus.

Set in the early to mid-19th Century, The White Plague paints a grim picture of a superpower determined to wage war for racial supremacy and national honour. This war, however, is not just about ideology; it’s driven by the most profitable industry of all—ammunition. As the states are embroiled in conflict, a global pandemic, eerily familiar to our recent experience of Covid-19, wreaks havoc across the world. The White Plague, as it’s called, has already claimed the lives of 5 million people and affected 20 million. With a recovery rate of just 60 percent, the virus targets those over 45, causing them to die within four weeks of infection. The disease leaves its victims with white patches on their skin, reminiscent of Macula (stain) marmorea (marble), and a stench that marks the infected.

In this grim setting, Dr Sigelius, portrayed by Fawad Khan, runs an internationally recognised medical practice desperately seeking a cure. However, it’s Dr Galen, played by Kashif Hussain, a doctor known for working in low-income areas, who claims to have discovered the remedy. Dr Galen will only share the cure if the warring nations agree to cease hostilities, stop producing ammunition and end the profiteering of corporate giants and collaboratively work towards peace. This ultimatum brings to the forefront the play’s exploration of class-ism, overpopulation, the influence of pharmaceutical companies and the capitalist dynamics.

The play does an excellent job of highlighting how those in power—governments, businesses, and the media—collude to build narratives that feed extremism and shape public opinion. This theme resonates strongly with current geopolitical realities, making The White Plague feel particularly relevant. As the world continues to grapple with the aftermath of the Covid-19 pandemic and the current unrest in global geopolitics, the play’s portrayal of a global crisis manipulated by those in power hits close to home.

Saad Zameer’s portrayal of The Marshall is one of the standout performances in the play. His powerful voice and commanding presence on stage are perfectly suited for the theatre. He brings a level of intensity to the role that is both captivating and unsettling. Fawad Khan and Kashif Hussain also deliver strong performances, with their nuanced body language and sharp dialogue delivery adding depth to their characters. The set design provided ample space for the actors to move freely and bringthe play to life.

However, The White Plague isn’t without its flaws. Amid its strengths, there are areas deserving of scrutiny. The play is notably short on female actors, which felt like a missed opportunity to add more layers to the narrative. And while the play tackles a range of serious issues, it could have benefited from tighter editing. There were scenes that could have been trimmed or cut entirely to make the play more concise, crisp and impactful. While the need to address various themes is understandable, a more streamlined script would have made the play sharper and more engaging.

The White Plague is a bold and relevant production by Meher Jaffri, that challenges audiences to reflect on the state of the world today.

The writer is the head of content at a communications agency