Return Of Siachen on Stage

Anwar Maqsood’s Siachen presented in 2015, has made its way back to the stage, and with this revival comes a reminder of why the play first struck a chord with audiences. For years, critics of Maqsood’s theatrical ventures have questioned whether his work fits into the framework of “serious theatre,” often pointing to earlier productions like Ponay 14 August and Dharna as lacking the dramatic conflict essential to stagecraft. Yet, the return of Siachen, staged under the direction of Dawar Mehmood at the Arts Council, offers a counter-argument—one that combines satire with depth, humour and a humane aspect.

At its heart, the play pays homage to the Pakistani soldiers stationed on the Siachen Glacier, one of the most unforgiving battlefronts in the Karakoram where Pakistan and India have maintained a military presence since the 1980s. While Maqsood’s hallmark wit runs through the script—quick repartee, satirical digs, and clever wordplay—the core of the drama lies in exploring the psychological toll of separation from home and the relentless physical demands of surviving in such hostile terrain.

The narrative begins in darkness, with spotlights illuminating soldiers and their families grappling with the reality of duty before the scene shifts to the icy peaks of Siachen. A painted mountain backdrop and a lone tent create the setting for soldiers whose camaraderie and spirited exchanges drive much of the early humour. Their verbal sparring with unseen Indian troops delivers some of the liveliest moments, including the infamous “zaheen Sardar” quip, while Maqsood does not spare his own society from mockery—a soldier mistaking a white board for a peace sign only to discover it’s a Bahria Town advertisement earns loud laughter. The comic rhythm continues when an Indian soldier accidentally crosses over, triggering a series of sharp, playful interactions.

Gradually, however, the mood shifts. The battle scene, though intense, makes this argument forcefully, confronting the audience with the cost of violence. From a production standpoint, Siachen displays greater theatrical craft than Maqsood’s previous collaborations, with strong use of lighting, sound, and smooth transitions between scenes. If the set design had been broader to reflect the magnitude of its subject, it might have elevated the staging further, but the effort remains commendable.

With its return to the stage, Siachen demonstrates why it continues to resonate—it is at once funny and poignant, entertaining and thought-provoking. The production reaffirms Anwar Maqsood’s unique ability to merge satire with substance in the realm of Pakistani theater.