The Wrong Bashir is set in present day Vancouver and depicts the intergenerational story of a wonky Ismaili family. The comedic plot highlights the absurd relationship dynamics and idiosyncrasies one tends to witness in displaced and migrant communities. Bashir Ladha is a wayward millennial. Constantly occupied with esoteric pursuits, he revels in a sense of naive optimism. But all hell breaks loose in the Ladha household when an accomplished committee appoints Bashir to a coveted position in the local Ismaili congregation Jamatkhana.
L-R: Neha Devi Singh, Hussein Janmohamed, Leena Manro, (in back) Parm Soor, Seth Ranaweera, Sabrina Vellani, Aman Mann, Shera Haji, Salim Rahemtulla Photo Courtesy: Matt Reznek
The first act of the play is a series of awkward gaffes, provoking a laugh riot while establishing the many angles of conflict. Bashir’s contrarian streak clashes with his parents’ desire to conform to their Ismaili roots. As the act unfolds, we meet older members of the community, each possessing distinct character quirks to varying comedic effect. The act cleverly taps into the sense of utter chaos that comes from intergenerational identity conflicts. The audience is bound to feel emotionally charged to the point of overwhelm. The proud, yet melancholic sentiments of wanting to preserve cultural memory (stemming from the trauma of involuntary migration) cut through the veneer of exaggerated humor.
The play offers a unique glimpse into distinct aspects of Ismaili culture like the multi-lingual exchanges between the elderly and youngsters, the obligatory offerings of tea and snacks to guests, the institutionalized religious roles within Jamatkhanas and the close-knit kinship networks of Ismaili families that span across borders and oceans. The second act of the play is shorter and offers food for thought. The ending steers clear of anticipated clichés. The audience is also treated to whiffs of sandalwood incense, medleys of Bollywood songs and the aroma of fenugreek (watch the play to know why). These elements capture the intangible aspects of cultural memory that are meticulously preserved by South Asian families in diasporas.
It is evident that this play is a result of community effort. The actors possess a rooted charisma and play their roles with conviction. The performances of Aman Mann as Bashir and Salim Rahemtulla as Nana are noteworthy. The script by Zahida Rahemtulla is very layered – it is incredible that she has packed in so many cultural nuances and distinct personalities in her characters. The story pays tribute to the collective suffering of community elders who were displaced from Uganda ruthlessly by a dictator in the 1970’s. Using Ismaili humor to highlight dysfunctional tendencies has ironic consequences – it brings forth the community’s resilience and cultural rootedness. We need more such productions that tell unique stories about the people and cultural institutions that enrich Canada’s landscape, but tend to be invisibilized in the mainstream.
The Wrong Bashir is produced by Touchstone Theatre’s Flying Start program in association with The Firehall and vAct. Shows run from March 2 to March 12, at the Firehall Arts Center in Downtown Eastside, Vancouver. Book your tickets here.
– Annapoorna Shruthi