There’s a certain thrill in watching something original come alive on stage, a story that hasn’t yet been seen, characters you’ve never met before, and dialogue that hasn’t already been quoted on social media.
That’s exactly what Tasneef, the National Academy of Performing Arts’ (Napa) first-ever Original Playwrights Theatre Festival, delivered: a powerful, promising showcase of four original Urdu language plays that left audiences hopeful for the future of Pakistani theatre.
Marking 20 years of theatrical excellence, Napa has long been a hub of dramatic innovation. But this time, the spotlight was firmly on the storytellers, the playwrights. The festival was born out of a national open call for original Urdu scripts, and the response was heartening: over 30 entries from all over Pakistan. Through a blind, merit-based process, four scripts were selected, directed, rehearsed and staged from June 13-21, under the curatorship of Afreen Seher, Head of Theatre at Napa.
These weren’t recycled adaptations or familiar re-runs. Tasneef was fresh, contemporary and deeply rooted in the issues and rhythms of today’s Pakistan. Each play brought with it a distinct genre and narrative style, giving theatre-goers a well-rounded, thought-provoking experience.
Here’s a look at the four standout plays that were showcased:
Musafir: A conversation that lingers
Written and directed by Farhan Alam Siddiqui
Opening the festival was Musafir, a slow-burn narrative that takes place at a seemingly mundane train station, until it doesn’t. What begins as a light exchange between two strangers on a bench unfolds into a layered dialogue about dreams, detours and the burden of expectations.
Napa’s ‘Tasneef’ festival was a reminder that great stories are being written every day in this country and all they need is a stage
Siddiqui, one of Napa’s earliest graduates, brings a certain maturity to the pacing and structure, making the audience lean in with curiosity. There’s humour, quiet tension, and a final twist that stirs reflection long after the curtain drops. While the storytelling took a few moments to settle, Musafir captured the quiet heartbreak of lives paused mid-journey.
1st Time in Pakistan: Satire meets systemic decay
Written and directed by Zakiullah Khan
Possibly the most talked-about play of the lot, 1st Time in Pakistan was a biting satire set in a fictional town called Karta Dharta. Protesters gather outside a government office, frustrated by the town officer’s inaction over basic sanitation, sewage and water problems.
Enter the “solution”: a grand infrastructure plan dubbed “1st Time in Pakistan.” But at the cost of the locals’ displacement. The parallels to real-life land controversies, including whispers of Bahria Town, were impossible to ignore. While the script tackled serious issues with smart observations and grounded absurdity, some moments dipped into crass humour that could’ve benefitted from tighter editing. Still, Zakiullah Khan’s direction kept the energy high and the message clear: even in satire, the stakes are real.
Saraab: The pressure of pretence
Written and directed by Damyanti Gosai
A haunting, introspective drama, Saraab explored the psychological and societal expectations placed on individuals. Written and directed by Damyanti Gosai, a Napa alumnus and multilingual translator, the play unfolded like a fever dream, where reality blurs into illusion. Through fragmented scenes, layered monologues and striking visual metaphors, Saraab interrogated how people lose themselves in the process of conforming.
One of the standout plays, Saraab tackled student politics and moral awakening with gripping intensity and thoughtful staging. The lighting design was particularly effective, casting a sharp focus on the emotional shifts and political undertones throughout the narrative.
The story followed a university student on the brink of engagement, whose life takes an unexpected turn when his beloved professor is arrested on the very day of his ceremony. As campus elections unfold, the incident becomes highly politicised, and the young man finds himself torn between personal obligations and a growing sense of justice. Despite pleas from his family and fiancée to stay out of it, he joins the student movement, eventually leading a protest that ends in a violent crackdown.
The arc of idealism, resistance and loss unfolded powerfully, leaving the audience with much to reflect on. Gosai’s direction was both tender and courageous, making space for discomfort, introspection and, ultimately, empathy. Saraab stood out as a piece that dared to look inward.
In The Middle: A love letter to struggling artists
Directed by Usama Khan
In The Middle was the festival’s meta-commentary on theatre itself. The story followed three aspiring actors, all stuck in a tough spot, where they must make a decision within six days that could change everything.
It follows an immigrant couple grappling with an expiring visa and conflicting desires for their future. Kaif, shaken by a viral video and its consequences, wants to seek asylum, while Sajjad is determined to return to Pakistan to pursue his passion for the arts. Their opposing choices put them at odds, just as Sajjad reconnects with his former student Hassan, who also shares a complicated past with Kaif. As old wounds resurface and difficult truths are revealed, the couple must confront their past and make a decision that will redefine their future.
The play explores ambition, guilt and survival through emotionally charged dialogue and tense personal dynamics. With minimal props and a tight-knit cast, the play unfolded like a backstage drama-meets-life crisis.
Director Usama Khan struck a perfect chord, drawing the audience into the vulnerabilities of those who dedicate their lives to performance. The script was raw, honest and deeply relatable, especially to anyone who’s ever chased a creative dream in a world that doesn’t always understand art as a profession.
Why Tasneef mattered
It was heartening to see original Pakistani scripts being staged and, more importantly, celebrated. With Tasneef, Napa has given fresh voices the space to be heard, the training to be polished, and the audience they deserve. Festivals like these are crucial to the health of our cultural ecosystem. They don’t just entertain; they challenge, inform and nurture talent that might otherwise go unnoticed.
While Napa and its faculty have done the heavy lifting, initiatives such as Tasneef require more than just passion; they need institutional support. For Pakistan’s theatre to flourish and evolve, it is imperative that the government step in to support such festivals, fund cultural institutions, and invest in creative infrastructure.
Art thrives when it is nourished, and artists thrive when they are trusted.
Published in Dawn, ICON, July 6th, 2025