cynic will either not see the silver lining or choose to ignore it. Much like William Blake’s Poison Tree, they will let negative emotions fester, until they completely destroy them.
Kafeel narrates the story of Zeba and Jami and how a loveless and toxic union has far-reaching ramifications.
However, it is not all doom and gloom; there is light at the end of the tunnel. The play takes an interesting turn when a former love interest is re-introduced. Although this seems like something that would only happen in fairytales, maybe, it is a case of life imitating art. Zeba’s children are now her support system. This is particularly true of her son, who is nothing like his father.
Zeba’s son is the silver lining. He is portrayed as a level-headed and practical young man, who always stands by his mother like a rock. Aashir Wajahat enacts the role of Subuk, who not only is an excellent son, but also a supportive and caring brother. He takes after his mother. So do his siblings.
After she obtains khula’ from her husband, Subuk is keen to see his mother settle down. The other children, too, rally around Zeba, giving her the moral and emotional support, during this extremely challenging phase of her life. As she closes a chapter, is she ready for the next?
When an old love interest unexpectedly re-enters Zeba’s life (he is her husband’s namesake), she is thrown off-balance. Her husband has thoroughly destroyed her self-esteem and her self-confidence is in tatters.
While life has not been a bed of roses, to use a euphemism, Zeba has bravely faced her circumstances and brought up four lovely children. All of them have matured into sensible adults, despite a traumatic and extremely troubled childhood and a father who was always sponging off them.
The bar has definitely been raised with this production. It only underlines how a competent director with an able and talented cast, can do wonders. The viewers are hoping for a happy ending for Zeba.
Umera Ahmed only raises the bar with every play. The parallel story about Zeba’s neighbours (before she moved out of her husband’s apartment), is equally engaging. The boy next door has married a girl who refuses to adjust to his household. She comes from a wealthier family and is used to a lot in life. Being pampered, she causes various problems for her husband. Her mother, instead of providing sensible advice, encourages her to leave her in-laws, which she does and returns to her maika.
Initially, her family rallies around her but, gradually, she sees a change in the attitude of her brother and mother. Her sister-in-law (brother’s wife) also does not accept her. Slowly, she begins to realise that she may have acted in haste. The narrative skillfully portrays the change in her family’s attitude and how the son’s wife becomes the focus of attention, especially once she is pregnant.
The play portrays and compares the household dynamics of two families. While Zeba makes endless compromises and sacrifices, so as not to rock the marital boat, the marital life for her next-door-neighbour is full of trials and tribulations. His wife is like a female version of Jami (Zeba’s husband) in the sense that she refuses to make necessary adjustments and ends up making it hard for everyone around her.
Kafeel shows that, like women, men have to make adjustments for their marriages to do well. In that sense, this production resonates with the viewers on many levels. Not only is the acting, direction and script excellent, the deft execution of the script by the director also deserves brownie points.
The bar has definitely been raised with this production. It has shown once again how a competent director with an able and talented cast, can do wonders. The viewers are hoping for a happy ending for Zeba.
Keep watching as this play nears the end and keep rooting for both Zeba and her neighbour as they navigate the ups and downs of their marital lives.
The writer is an educationist. She can be reached at [email protected].