Writer : Neha Kargeti, Saadat Hasan Manto Direction : Randhir Ranjan Roy Cast : Shekhar Suman, Suchitra Krishnamoorthi, Neha Kargati, Amit Ghosh and Vikas Tiwari
EK HAAN Review
EK HAAN, directed by Randhir Ranjan Roy, features Shekhar Suman, Suchitra Krishnamoorthi, Neha Kargeti, Amit Ghosh and Vikas Tiwari. Set against the backdrop of the 1947 Partition, the play follows Wazeera, an Indian journalist who travels to Pakistan to interview the renowned writer Saadat Hasan Manto. As she attempts to understand his writing and the thoughts behind it, the interview becomes a journey of self-discovery. The play brings three of Manto's famous stories, Toba Tek Singh, Kaali Shalwar and Aql Daadh, to the stage, blending drama, humour and a range of human emotions.
Shekhar Suman's command over language makes his portrayal of Manto effortless. His Urdu flows smoothly, adding authenticity to the character. What stands out is his ability to play multiple characters from Manto's stories as well. He portrays Bishan Singh in Toba Tek Singh, Shankar in Kaali Shalwar and the husband in Aql Daadh, bringing a distinct quality to each role. The famous muttering of Bishan Singh, "Opad di gud gud di moong di dal di laltain di Hindustan te Pakistan di dur fitey munh," is used beautifully between dialogues in Toba Tek Singh. Suchitra Krishnamoorthi plays the elegant Wazeera while also portraying Sultana, the prostitute in Kaali Shalwar, and the wife in Aql Daadh. Neha Kargeti appears in Kaali Shalwar, while Amit Ghosh and Vikas Tiwari feature in Toba Tek Singh.
The direction keeps the transitions between the interview and the stories smooth. An LED background changes according to the requirements of each scene, while a chair, a tea table, a bar counter and a charpai on stage are used across the stories. These common elements help establish different settings without requiring elaborate changes. The music, featuring songs sung by Rekha Bhardwaj and Shahid Mallya, complements the changing moods. The music becomes dark during traumatic moments and lighter during comic scenes, supporting the emotional shifts in the stories.
For those unfamiliar with Manto's work and the controversies surrounding him, the play may feel a little confusing, as it assumes a basic understanding of the writer and his background. For Manto's admirers, however, revisiting these stories in a theatrical format is a treat. Wazeera's character and her desire to hear one haan from Manto remain at the centre of the premise, but this emotional thread receives little attention until the final scene. Wazeera is a fictional character rather than a documented figure in Manto's biography, while the play incorporates Manto's fearless and unapologetic words. The final scene brings emotional intensity as Wazeera awaits his answer, bringing their relationship to a close. It is this moment that leaves an impact, while the rest of the play largely serves as a journey through three of Manto's stories.
Shashank Jadhav is a theatre practitioner, actor, writer, and director. He is the founder of Occipital Productions, under which he develops work across theatre and films.
