Its only befitting that a celebration of Lahore begins with a tribute to Bhagat Singh, the original young revolutionary

firebrand and one of the citys greatest sons, whose rallying cry, Inquilaab Zindabad, is still potent enough to cause goose bumps and stir something primal within. Also, in the current, highly charged socio-political climate with everyone rallying for an Inquilaab, Bhagat Singh is an apt reminder of what it really means to be a revolutionary and what a real revolution entails. Ajoka Theatres most recent offering, Mera Rang De Basanti Chola, kicked off Portrait of Lahore, a series of conferences and cultural events organized by THAAP (The Trust for History, Arts and Architecture of Pakistan) in collaboration with the Lahore Arts Council, in grand fashion.

Written by Shahid Nadeem and directed by Madeeha Gauhar, Mera Rang De Basanti Chola, in the vein of Ajokas earlier productions like Dara and the sublime Bulha, is a lyrical, heartfelt and highly moving ode to one of the subcontients most legendary figures. In typical Ajoka fashion, Nadeems script combines straight biography with little-known facts and figures from the fringes of history, with loaded allusions to the present sociopolitical climate, all within an impressionistic, highly embellished framework of intriguing storytelling and succulent, live folk music. The premise of Mera Rang De Basanti Chola is a fascinating one and quite inspired. It is no secret to those intimately aware of the history of the Punjab that most of the so-called (now) major families of the region have some pretty sordid secrets in their closets that go all the way back to the British Raj. Bluntly, it is said that these families of the Punjab, now quite eminent in the highest echelons of the society, bureaucracy and government, were once mere touts of the British, ratting out and betraying their fellow countrymen, fighting for the country and independence, for material gains like titles, land and property from their white masters. In essence, they were traitors to their homeland and that callous and selfish tradition of treachery and duplicity for of power and self-perseverance still continues in the Punjab to this date. In Mera Rang De Basanti Chola, Shahid Nadeem alludes to this facet of the Punjabs history and links it to Zulfiqar Ali Bhutto, via Bhagat Singh! That central conceit, however laudable in its novelty, is nevertheless far-fetched, digressive and rather bizarre, some might say ill-advised, falling flat when translated to narrative. However, bringing the Shah Jamal shrine of Lahore into the mix is a rather brilliant stroke of inspiration on Nadeems part. You see, the famous Shah Jamal shrine is quite close to where the Lahore Central Jail was then, where Bhagat Singh was hanged along with his comrades, Sukhdev and Rajguru. Nadeems conceit of making Baba Shah Jamal a part of the Bhagat Singh lore is a touch of genius that lends a wholly Lahori flavor to the story, making Bhagat Singh our own as never before. The plays action alternates between 1974 and 1931. In 1974, a couple of policemen are investigating the driveby murder in Lahore by unknown assailants of a prominent personality of Kasur, Nawab Muhammad Ahmed Khan. (This is the same character for whose murder Zulfiqar Ali Bhutto was convicted and sentenced to death.) While the

policemen are paying their respects at the Shah Jamal shrine, they come across Baba Bhoga, an old resident of the shrine, who offers to unlock the murder mystery for them. Thus begins a back-and-forth in history, as Bhoga relates to the cops the story of his days as a young sweeper in the Lahore Central Jail in the 1930s and his friendship with Bhagat. Its an intriguing device and Bhoga is a great character. Through his point of view we come to know Bhagat Singh as a highly charismatic, larger-than-life and compassionate young man, who is steadfast in his ideals and fearless in the face of death. Although the play is not a straight-up biography of the heroic martyr, it tells us all we need to know about Bhagat the revolutionary. Shahid Nadeem and director Madeeha Gauhar are not interested in the details of his life, but rather, their concern is to get Bhagats message across and that they accomplish quite admirably. Although Madeeha Gauhar opens the play to great effect and certain inspired touches here and there throughout, the direction overall tends to get rather repetitive and tedious, which is largely due to the copious amount of musical interludes. The short musical numbers, which are all folk ballads about Bhagat Singh, though no doubt soul-stirring and effective, hinder the narrative where one wishes it would flow faster. The number of flashbacks between 31 and 74 too bog the pace down. The storys conclusion was rather disappointing. Although the link between the 74 murder of Kasuri and the hanging of Bhagat Singh is quite potent (it was Kasuri who signed Bhagats black warrant), attributing it all to karma and divine intervention on Baba Shah Jamals part is frankly quite hokey and ridiculous, coming from a writer of Shahid Nadeems caliber. Minor quibbles aside, however, Mera Rang De Basanti Chola succeeds triumphantly as a whole. The dialogue is terrific, with some great, rousing speeches and frequent humor sprinkled throughout. The tight third act ties everything together neatly and the climax is extremely powerful. The rendition of Mera Rang De Basanti Chola (and the 1965 version from the Manoj Kumar classic Shaheed at that too!) causes goose bumps and a serious lump in the throat. And what about the acting? While everyone in major roles is superb throughout, Nirvaan Nadeem, if I may indulge in a bit of hyperbole, was born to play this role. He is superlative as Bhagat Singh. Not only does he look great and a dead ringer for Bhagat, but his body language, dialogue delivery and accent, all scream a profound understanding of the character. He has given it his all and the result is a truly rousing and powerful experience. There are shades of Gurdaas Maan as Bhagat Singh (in the brilliant Shaheed Uddam Singh, 2000) in his performance but that is by no means a bad thing. Nirvaan embodies Bhagats charisma and fearlessness, romance and compassion, resolve and humanity so well with his alpha male swagger, puffed out chest and booming voice, he becomes Bhagat Singh. When Nirvaan screams Inquilab Zindabad, one feels an overwhelming urge to stand up and join in.
Mera Rang De Basanti Chola shows us a piece of the beautiful mosaic that is Lahore, reintroducing us to its great son, through the prism of another one of its legends. When Bhagat Singh, in his white shirt and black hat joins the bhangra-dancing faqeers at Shah Jamal and then doing the bhangra alone in the spotlight, center stage, its a moment of rare transcendence that makes ones eyes well and heart sore with pride and nostalgia, a sight for the ages. That is great theater. Faraz Malik, Nov 2011