The only place where the social and intellectual elite would shut the door, sit in the dark with complete strangers, and listen to tales that shed light on who we are as a people is the theatre.
The River’s Daughter (Darya Ki Beti), a collaboration between ALL4ONE in Islamabad and Yasmin Whittaker-Khan’s Insaan Culture Club, was performed that evening at the Zia Mohyeddin Auditorium in Karachi as part of the Gender Ecologies Programme in collaboration with the British Council. The show, which has a run from May 25 to May 31, has so far had a packed house every day it has been performed.
Arieb Azhar wrote and produced the play, which is directed by writer/actor Kulsoom Aftab. Whittaker-Khan is the play’s co-producer and UK partner, and she also has plans to bring the play to the UK for dramatic readings and better outreach.
The story
The River’s Daughter took viewers on a journey through the ecosystem versus mankind, examining the impact on the lives of the residents of a goth (small village), and tackling the important issues of ecology, economic exploitation, permaculture, and climate justice.
Amna Ilyas, an actor and model, plays Marui, a charming young woman who is fighting to protect her town from a large-scale development project, and Fawad Khan plays Umar. It revived memories of the emotion of why the story of Umar-Marvi is still alive in the hearts and minds of people today.
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This is a story about growing up in a riverside community in extreme poverty. It is both poetic and terrible in equal measure. A musical ensemble from Sindh and Balochistan takes the stage to perform a vibrant musical performance. The conflict starts when a company plans to build a riverfront urban project with all the amenities near where the villagers already live, including a golf course, mega project apartments and suites, restaurants, educational facilities, and healthcare for the villagers. The locals believe that the construction/builder mafia has taken over property belonging to their cherished ancestors in the name of “economic development” despite the fact that the area is not very fruitful and the fishing industry appears to be suffering as a result of pollution.
While Pir Tota Saen (Arieb Azhar), a cunning opportunist who goes to whatever lengths to achieve the company’s pledge with his personal profits as the bottom line, acts as the middleman, Umar is the project’s managing director.
When Marui states, “Relocating the villagers from the village to the sea means deteriorating both land and the sea,” one may easily come to a conclusion as the audience alternates between the feelings of the locals and the viability of the idea. Another line spoken by Marui, “Angrez toh gaya he nahe,” in reference to Tota Sain, struck home. zehniyat nahin, Sirf rung badla hai [The British never departed. Although the colouring may have changed, the attitude stayed the same.
Final judgement
Marui was fantastic! Despite this being Ilyas’ first theatrical performance, she brilliantly captured the subtleties of the live motions. Fawad did a good job as a man who is torn between two opposing ideologies. The colourful, traditional village clothing and the cutting-edge corporate gear required by the business heads made for an excellent set design. The musical group and Sheema Kirmani’s dancing stood out, occasionally breaking the solemnity.
