Monkey Business Balances Brilliant Performances with a Few Unnecessary Turns

A recent performance of the Pakistani stage play Monkey Business, written and directed by Yasir Hussain, was attended at the Karachi Arts Council. The production reaffirmed Yasir Hussain’s reputation as a talented and versatile artist. While the title may draw inspiration from an older film of the same name, the play successfully establishes its own thematic relevance.

Yasir Hussain played multiple roles—including the protagonist, the protagonist’s father, and his wife—demonstrating impressive range and stage presence. However, his decision to mimic Bollywood actor Amitabh Bachchan while portraying the father figure was perceived as an unnecessary comedic device. The script itself offered sufficient substance and humor to engage the audience without the need for mimicry. Nonetheless, Hussain’s performances in all three roles were commendable and succeeded in maintaining audience interest throughout the play.

Supporting cast members, particularly Umer Aalam and Yusra Irfan, also delivered strong performances and effectively contributed to the overall production quality. The play managed to resonate across diverse audiences, which is often a challenge in regional theatre due to varied comedic sensibilities. While the reviewer, originally from Lahore, typically finds Karachi’s theatrical humor less relatable, Monkey Business emerged as a rare exception that bridged these differences.

One area of critique pertains to the growing trend in Pakistani stage comedy of incorporating physical slaps as a recurring comedic device. Although Monkey Business employed this element more subtly than Punjabi theatre, the practice remains contentious. The reviewer questioned whether such physical gestures are necessary, suggesting instead that well-crafted dialogue and situational humor can achieve greater comedic effect without compromising the dignity of the performers.

Historically, legends such as Amanullah and Sohail Ahmed created impactful humor without resorting to physical mockery. The reviewer advocates for a return to intelligent, respectful comedy that entertains while preserving the integrity of the art form and its artists.