Written by: Farheen Abdullah
Posted on: February 14, 2019 | 
| 中文
Islam Khaskheli as Shah Bhittai
Hosting the second performance of their recent initiative, Fringe Karachi Repertory organized a theatrical performance at The Second Floor (T2F) on 9th and 10th February, 2019. This time around, the team adapted Shah Bhittai’s verses, which were recited by Islam Khaskheli, and directed by Zohair Raza. Written by Shah Bhittai, a Sufi scholar and the Poet of Sindh, Sur Samoondi is a derivative of Raga Poorvi, which the poet has employed to explain the mission assigned to souls and the diligence required in the vocation of seeking the truth. Through the allegory of sailing and with reference to the vocation of sailors, who have to prepare themselves to face the challenges of gyres, cyclones and high tide, Bhittai sought to illustrate the arduous path to spiritual enlightenment for humankind.
Those who attended the first production by Fringe, an adaptation of Jaun Elia’s poetry back in November, may have been skeptical about the second performance, especially since the director and the venue remained the same. However, Samoondi turned out to be quite an improved effort. A one-man show, Samoondi did not require as much direction, but depended greatly on the actor’s physical and verbal movements, and how engaged Islam managed to keep the audience. A 50 minutes long act, the production showed the daily routine of a man who lights up diyay (oil lamps), performs wuzu, offers Maghrib, does zikr, and then settles down to recite his kalam (poetry). Samoondi only used a handful of props including the diyay, a matka (earthen pot), a glass, an ektara, and a chatayi (reed mat). The only light source in the performance was the oil lamps, while the ektara produced the only sound in the play other than Islam’s voice. The director was especially clever when depicting the time of the day. To make sure that the audience did not confuse sunset with sunrise, Zohair had Islam perform three rakat, making it clear that it was time for Maghrib.
Another part of the act which was well thought out was when Islam was shown as reciting the kalam, but did not have it memorized by heart. This made it clear that the verse being recited was still poetry in process, and wasn’t an already well-known verse.
Samoondi proved that the Fringe team had studied and researched Sufism in detail, before presenting this production. Elements like zikr – which contemporary notions of Sufism tend to dismiss – were depicted as containing the essence of Sufism. It also left the audience reflecting on the character’s simple life and his ability to be grateful for his limited material possessions, as well as the kind of connection this man shared with God, which allowed him to live so contently in such humble surrounding.
The biggest barrier between Islam and his audience was that his dialogues were in Sindhi. Since many people in Karachi only understand Urdu, the audience could have easily lost interest in the performance, had they not gotten hooked by the acting. The nature of the act also required the audience to be very patient and alert throughout.
Fringe Karachi Repertory is targeting a niche audience with their performances, considering their choice of topics. Their work is not meant for larger groups either, as proven by their choice of venue. Though their plays may not cater to a wider audience, the team is doing promising work and with more time, they could experiment with new forms of theatre as well as expand their audience.
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