PUBLISHED
December 28, 2025
Theatre might not have reclaimed its long-lost position in 2025, but it did make giant strides during the year, with Yasir Hussain’s Monkey Business making audiences laugh across the country. Yasir Hussain not only wrote and acted in the play but also directed it.
The play was first staged in April and was well received nationwide. The second innings proved just as successful, with the makers inserting jokes about India’s failed attack on Pakistan in May, along with anecdotes that particularly appealed to the media fraternity.
What makes Monkey Business stand out at a time when OTT platforms and better TV drama productions have sidelined theatre and cinema? And why should one recommend a play that may seem like old wine in a new bottle? Please watch it to know. The next time Monkey Business is staged in your city, make it your business to go with friends and family and have a great time.
The Plot
Wasim (Yasir Hussain) is a talented but unemployed thespian who survives through fraudulent means. He cashes cheques meant for his deaf-in-one-ear wife, his dead tenant, and a disabled version of himself. The twist? His wife, Mrs Wasim (Yusra Irfan), is perfectly healthy; his tenant, Sherry (Umer Aalam), is very much alive; and Wasim isn’t disabled at all. When the authorities send an investigator to verify the claims, the situation escalates to a whole new level. Not only does Wasim have to convince the officer (Bilal Yousufzai) that his lies are true, but he also ropes Sherry into the scheme. Add Sherry’s girlfriend (Gulrukh Ali Khan), a plumber of sorts (Osama Bin Atiq), the wife’s ex-fiancé (Abdullah), and a die-hard fan (Khizr Ansari) to the mix, and you have an unstoppable comedy of errors.
The Good
Although the play doesn’t offer anything entirely new, it uses a tried-and-tested formula in a way that makes it thoroughly enjoyable. It highlights the plight of artists in the country while touching upon issues such as trust, royalty, cleanliness, and development (not in Karachi!). Yasir Hussain is undoubtedly the star of the play, as he writes, directs, and dons multiple avatars throughout. A favourite of the Karachi Arts Council since his role as Akbar in Anwar Maqsood’s Aangan Terha over a decade ago, he continues to prove his mettle with ventures like Monkey Business.
It’s difficult to say whether he is a better actor, director, or writer, because he excels in all three simultaneously. The play is far superior to Hotel Jaan-e-Jaan, staged last year, as he clearly implements lessons learned from earlier mistakes. That doesn’t mean that the previous effort wasn’t worth it; it was, but this one is far better. From song selection to casting actors who fit their roles perfectly, everything works, as evidenced by the show’s twice houseful run in Karachi.
If Yasir Hussain is the main ingredient, Tamasha winner Umer Aalam is the secret weapon. He delivers in every avatar, starting as the carefree Sherry, then transforming into Mrs Wasim and later her father-in-law, to prove to Wasim that he is a good actor. While the third avatar isn’t as prominent, the first two allow him to demonstrate that his reality show win wasn’t a fluke, earning him well-deserved applause.
Audiences may have seen the fiery Yusra Irfan in supporting TV roles, but when given the lead, she excels. From playing a dutiful wife to channelling her inner Manjulika, she delivers a standout performance. Her presence is not only visually pleasing but also adds tension to situations where every man is desperately trying to save himself—repeatedly.
Social media personality Osama Bin Atiq and Bilal Yousufzai also deserve praise for sharing the load with Yasir Hussain and Umer Aalam, who are on stage for most of the play—the scene where their characters—Dr Gataria and the Investigator—meet for the first time evoke memories of classic 1960s madcap comedies. Osama’s monologue about the truth behind the term Kooray Wala is not only well delivered but surprisingly deep. Bilal Yousufzai’s return to theatre is a welcome move for an actor who has appeared in multiple films and TV dramas since his breakthrough in Anwar Maqsood’s theatre productions.
The script is laced with pop culture references that mostly hit the bullseye. If you didn’t laugh at lines about no one knowing cheating better than Wasim bhai, or jokes about Ahsan Khan’s good looks, you likely smiled at the mention of Amitabh Bachchan’s granddaughter Aradhya, the clever incorporation of Big B’s iconic dialogues, and the respectful nods to stars like Nida Yasir and Humayun Saeed.
The Bad
The play’s length isn’t an issue—it’s thoroughly entertaining—but the late entry of Azeem Bachchan (also played by Yasir Hussain) is. While he energises both the audience and his co-stars as a Pakistani version of Amitabh Bachchan, his appearance comes a bit too late. Gulrukh Ali Khan, who plays Sherry’s girlfriend, has limited material to work with; a few more dialogues could have added better representation for the fairer sex.
Khizr Ansari’s superfan character may remind viewers of Khalid Nizami’s tenant in the PTV classic Ankahi. Still, the youngster adds his own hilarious flavour, especially during his entry scenes and the moment he supposedly gets knocked down.
The only real drawback is the length of the dance numbers. While they help introduce characters, they feel too long for a play already packed with jokes. Trimming them could have improved the pace. Thankfully, the cross-dressing—something that could easily have gone wrong—works well overall, with only minor hiccups. With so much happening on stage, confusion is possible, but the audience never loses interest. A few sharp jibes at big names in showbiz and the media may offend some fans, but that edge is precisely what makes the play relevant and relatable.
Verdict
Monkey Business attempts to revive Pakistan’s dying theatre culture and largely succeeds. However, more such plays are needed if theatre is to reclaim its lost glory. Producers Asiyah Majeed and Sajeel Meer deserve credit for keeping things balanced and avoiding unnecessary offense. During the initial run, a neighbouring academy of the Arts Council was targeted; this time, the Arts Council itself was fair game, reflecting the makers’ confidence and smartness.
The version — or variant — of Amitabh Bachchan it presents would have made even the great actor proud, because not only are some of his films discussed, but his family is also very crucial to the plot. Yes, the play tries hard to preach during its 70-minute run, but the way it educates while entertaining ensures it stays with you long after you leave the theatre. It never feels cringe, unlike many preceding productions, nor does it target minorities—perhaps that’s why it remains both in business and in memory.
All facts and information are the sole responsibility of the writer
Omair Alavi is a freelance contributor who writes about film, television, and popular culture
