ankar, a play written by Umera Ahmad, was far ahead of its time when it was aired more than a decade ago. Starring Fahad Mustafa and Sanam Baloch in the lead roles, it raised many questions and touched on a number of social issues that plague our society.

Kiran (Sanam Baloch) hails from a middle-class family. She has two sisters; an older and a younger one. A chance encounter with Sikandar (Fahad Mustafa) alters the direction of her life. Hailing from a rich and influential family, he is an only son and a very eligible bachelor. He is smitten with Kiran and insists that he will marry no one but her. His mother is taken aback as she wishes to marry him to her sister’s daughter, Arzu, who also happens to be Kiran’s cousin and her best friend.

Arzu is also interested in marrying him. When she learns that he wants to marry her cousin instead, this drives a wedge between the two cousins. As Sikandar refuses to give in and is adamant, his mother comes round to fix his wedding with Kiran. The initial period is blissful and everyone envies her, as she is seen to have married above her economic and social status. Everything seems hunky dory, until Sikandar starts showing his true colours.

He has a terrible temper. Despite being an educated person, he has no qualms about physically abusing his wife, at the slightest ‘provocation.’ He also insults and humiliates her whenever there is an altercation. When she mentions this to her mother-in-law, she takes offence. Things worsen and fights and arguments become the norm.

Kiran becomes pregnant and everyone is on cloud nine. However, sometime later, during a heated altercation, Sikandar pushes her and she falls, losing her baby. This is the point of no return for her. Although her parents pressure her to return to her husband and he apologises, she is firm about not returning.

Her mother tells her that contrary to what she might believe, her father, too, had a terrible temper and would physically abuse her. She tries to convince her to reconcile with her husband, but Kiran insists that she cannot spend her life with a man who abuses her, verbally and physically.

This gem from the past is worth watching (and re-watching). Like Durr-i-Shahwar (another asterpiece by the same writer), it is timeless. The social issues raised are relevant and expertly portrayed.

She obtains a divorce and closes that chapter of her life. Sikandar marries Arzu, but is still obsessed with Kiran. The play captures the family dynamics very well. It also highlights the stigma attached to a divorced woman, who has to face all kinds of questions from her relatives and extended family. Many believe that she is a fool for divorcing a man who is rich, educated, an only son and to top it all, besotted with her. Kiran is portrayed as a very strong individual. Once she makes up her mind not to return, no amount of social and family pressure can sway her.

Kiran’s paternal aunt’s son, Adnan, has always been interested in her. He informs his mother that he wants to marry her. Despite facing immense opposition from his mother and sister, he marries her and the two start a new chapter of their life. Married life, the second time round, is no bed of roses for Kiran. She has a sister-in-law who takes out her bitterness on her and makes her life difficult. Money is also tight as her second husband is not well settled and has been debt since his sister’s wedding.

The dialogues are superb and the acting is top notch. Every actor essays their part to perfection. The economic disparity between Kiran’s and Sikandar’s households has been highlighted effectively. Everyone seems to envy Kiran for having married ‘above her status in life’ and think that financial security and stability can compensate for everything in life, even domestic abuse. However, that is where she draws the line.

Another issue raised in the play is generational trauma. Growing up, Sikandar, often sees his father hitting his mother and later ‘make up for it’ by plying her with expensive gifts. He grows up thinking that it is acceptable for men to hit their wives. However, his wife, Kiran wants respect, which she values more than expensive gifts. The scene where she confronts her in laws and cites references from the Holy Quran is perfection personified.

This gem from the past is worth watching (and re-watching). Like Durr-i-Shahwar (another masterpiece by the writer), it is timeless. The social issues raised are relevant and expertly portrayed. Umera has a knack for telling stories that resonate with people from all strata of society and never lose their appeal.

The writer is an educationist. She can be reached at [email protected].