Bullah continues to pull crowds
by FATIMA IQBAL [The Nation, Lahore]
After a few instructions from Madeeha Gohar to a seated audience at Alhamra, the play, in connection with Ajoka’s 20th Anniversary, opens with a group of followers carrying in Bullah’s funeral bed. The then mullahs of Kasur, shown standing in the court, declare his burial ‘na-jaiz’ for living a life of a kafr.
Set in the eighteenth century, the 2 1/2 hour play without an interval, looks back into the life of Bulleh Shah (1680-1758); how he becomes Shah Inayat’s disciple and is forced to leave his hometown, Kasur. And against all odds, he continues his search for truth.
His sittings with khusras, Muradi Begum - a prostitute and the downtrodden, who later became his followers, comes as a rude shock to the so-called clerics of the religion. Time and again they pass fatwas and declare him an outcast. Sarfraz Ansari outplays his character as Bullah. Throughout his rendition of Bullah’s kafis is imposing.
It should be noted that the era shown, not much different from today, is one of political disorder, decline of the Mughul Empire and civil rebellion. Bullah saves the life of Banda Bahadur Singh who is out to avenge the blood of his family. He persuades him to stop the insanity and preaches him tolerance. The Sikh is moved by Bullah’s manner and they meet again towards the end under similar circumstances. While Bullah is told to leave Kasur, Singh is caught and taken to Delhi.
The tide is against him when the intolerant Nawabs severly criticise him for his obsession for music and compel his murshad to give a fatwa on his qawali. The mullahs come out truly exposed when they misinterpret Bullah’s statement “Mein illah waan” (meaning I am immature) as Mein Allah waan. This is quite reflective of our times where mullahs point fingers at others to cover their misdoings. Two narrators who double as Bullah’s devotees, Sona and Chandi in the play continue to impress the audience. It has moments of supreme devotion laid out side by side with scenes of inhumanity and ruthlessness. Probably what makes the play all the more interesting and uncluttered are the sets and simple costumes. Bullah’s brown malung gown symbolises his bond with the commonfolk. Shah Inayat’s all white garb has a spiritual air about it while Bahadur Singh’s blue kurta with a contrasting yellow belt goes well with his personality.
There is distinctive Punjabi twang in the dialogues uttered, somewhat difficult to understand in the beginning but then one soon gets the hang of it. The script is punctuated with beautiful kafis, notably, Bullah’s whirling dance on Terey Ishq Nachaya.
Being one of Ajoka’s best Punjabi play, written by Shahid Nadeem and directed by Madeeha Gohar, it has seen an increase in its following for the last five years. A must-see for all those who have missed it out in the past. And a chance to see Asim Bokhari and Sarfraz Ansari in one of their best performances.