Yasir Hussain Makes a Triumphant Comeback to Theater
The passing of the revered Umer Sharif, the beloved Moin Akhtar, and the esteemed Anwar Maqsood, whose writing has become increasingly rare with age, has left a profound void in the comedy landscape of Pakistan. In these circumstances, one may wonder what the future holds for humour and the fine arts in the country. Is Pakistan gradually losing its true artists? Such questions resonate deeply with those who hold a profound appreciation for genuine artistic expressions – those who, rather than focusing on the divisions that often plague the realms of humour and art, seek only a moment of peace, a respite from life’s constant hustle.

However, for those concerned with the future of Pakistan’s cultural landscape, there is not just good news, but, in the parlance of "Pakistani journalism," a "big news" – Yasir Hussain is still very much with us. Indeed, Yasir Hussain, along with his talented team, continues to grace the stage with his production Monkey Business, bringing laughter and joy to audiences. The standing-room-only performances and resounding applause for this theater piece, written and directed by Yasir himself, are a testament to the enduring appeal of this production. The play, in which Yasir plays the lead role, features a stellar cast including Yusra Irfan, Umar Alam, Bilal Yousafzai, Khizr Umar, Usama bin Atiq, and Abdullah Wahab.

The narrative unfolds around Mr. Waseem (Yasir Hussain), an artist who, facing financial difficulties, deceives the Arts Council to secure a grant for disabled artists. An inspector is scheduled to visit his home to investigate the grant, and residing with Mr. Waseem are his wife Sana (Yusra Irfan) and a tenant, Sherry (Umar Alam), a fellow actor who, due to lack of work, cannot pay his rent. As the story develops, a series of colourful characters appear, and the play centers on Waseem’s increasingly desperate attempts to conceal his deception.

The performances throughout the play were exemplary. Yasir Hussain, with his extensive experience in theater, delivered a commanding performance, reaffirming his mastery of the stage. There is something uniquely moving about watching an actor, so accomplished in television and film, return to the stage – it is as

though a child, after years of separation, is finally reunited with their mother. Yasir’s return to the theater felt just like that. Not only did he perform with remarkable skill, but it was also evident that he thoroughly enjoyed every moment of his performance.

Yusra Irfan, though she had limited stage time, left a strong impression in her portrayal of Sana. Each time she appeared, she captured the audience's attention, leaving them eagerly anticipating her next entrance. Her imitation of the iconic character ‘Manjulika’ from an Indian film was particularly memorable, evoking a burst of applause and laughter from the audience.

Umar Alam’s dynamic performances, in various roles, were equally impressive, and he brought a refreshing energy to the stage. Bilal Yousafzai, portraying the inspector, and Usama bin Atiq, in the role of a community worker, also delivered strong performances, while Khizr Ansari’s contribution to the play was no less commendable.

The set design was well-thought-out, and the song selections matched the situation perfectly, adding to the atmosphere. The costumes, too, became a point of focus, adding another layer of visual appeal to the production.

Right from the outset, Monkey Business evokes a deep sense of nostalgia for the legendary Moin Akhtar’s comedic brilliance, gradually blending in elements that recall Umer Sharif’s memorable performances, all while paying homage to Anwar Maqsood’s trademark witty dialogue. The play also skillfully integrates references to popular viral trends from social media, adding a modern twist to its timeless theatrical roots.

A standout moment in the play was when Yasir Hussain and Umar Alam appeared on stage dressed as women. Yasir’s clever mention of Aishwarya Rai’s daughter, which later connected the story to Amitabh Bachchan and his family, had the audience in fits of laughter, keeping them entertained all the way to the final curtain.

It is important to note that Yasir Hussain’s portrayal of a female character not only evoked memories of the late Moin Akhtar’s legendary "Rosy," but his subsequent shift to Amitabh Bachchan’s persona clearly reflected the influence of Indian television shows like Comedy Nights with Kapil and Laughter Chef, particularly the comedic performances of Krishna Abhishek and Sunil Grover. Notably, a dialogue featuring the popular Indian song Jine Mera Dil Luteya was borrowed from an Indian show. Additionally, the creation of the word "Dohitya" in one of Yasir’s humourous lines mirrored a popular phrase from Laughter Chef, which had gained widespread attention online.

Furthermore, certain dialogues in Monkey Business are reminiscent of the signature style of Umer Sharif’s legendary stage performances, effectively honoring his legacy and reinforcing a link to the rich traditions of comedy that shaped the past.

Reading these lines, some critics may feel compelled to critique Yasir Hussain, especially considering his past comments against Bollywood, which might lead to online trolling. However, from my perspective, an artist’s goal is to merge inspiration from diverse sources and create something that connects meaningfully with the audience. In Monkey Business, Yasir Hussain has done just that – skillfully blending elements of social media and everyday life to craft moments that engage and entertain the viewers.

Artists find inspiration in the people around them, their society, and their peers. When they can translate that inspiration into something that brings joy and smiles to others, it is truly praiseworthy. Yasir Hussain's contributions in this regard undoubtedly deserve wholehearted recognition.

It is well-documented that in 2019, Yasir Hussain called for a boycott of Bollywood, urging Pakistani artists to refrain from working in the Indian film industry, a stance rooted in the strained relations between Pakistan and India, particularly over Kashmir. However, it appears that Yasir’s perspective has shifted over time, as he now includes Bollywood songs and characters in his theater production. Regardless, it is no secret that despite the ban on Bollywood films in Pakistan, access to Bollywood content through digital platforms and the internet remains widespread, and its influence on our society is undeniable.

Through Monkey Business, Yasir Hussain has not only preserved the essence of humour but has also addressed important social issues, such as the challenges faced by minorities, the lack of opportunities for emerging artists like Umar Alam, and the demand for royalties. In this era of rapid digital media, it is rare to find a moment that slows the pace of life and offers a genuine break. Yasir Hussain’s play provides just that – an opportunity to pause, reflect, and most importantly, laugh. One can only hope that Yasir continues to create more such productions in the future, bringing light and laughter to audiences for years to come.