*V-Gen*, an original play written and directed by Bazelah Mustafa, uses a futuristic, tech-driven narrative to deliver a sharp satirical critique of Pakistan’s societal dysfunctions. Set in a monochrome world where machines dominate, the play explores themes of incompetence, nepotism, and moral decay, all unfolding against a backdrop of newspaper headlines that cover every surface of the stage. This creative design immediately sets the tone for a play that probes into the country’s deepest issues, where even advanced AI struggles to rectify a broken system.
At the heart of the story is a top-secret project centered around the development of an artificial intelligence called Vision. The project is led by a team of inept individuals, hired not for their abilities but through connections, a reflection of the pervasive issue of nepotism. As the team works towards launching Vision, it becomes clear that the robot, despite its advanced capabilities, is uncovering uncomfortable truths about Pakistan that the human characters are unwilling to face.
The play’s sharpest moments of social commentary come when Vision is asked to share its analysis of Pakistan after being fed data from local newspapers. The AI begins listing negative news stories, detailing corruption, violence, and systemic failures. The team quickly dismisses these revelations as mere “glitches,” echoing the real-world tendency to brush off or downplay critical societal problems rather than confront them. This theme continues throughout the play, showing how even the most sophisticated technology cannot mask the decay present in the system.
One particularly powerful scene takes place in a government hospital, where a man injured during an Independence Day stampede is left to suffer in a chaotic, overcrowded facility. The hospital is plagued by power outages, and the staff, with a sanctimonious attitude, fail to offer help. This stark depiction of the healthcare system highlights the play’s underlying critique of governance and the inefficiencies that plague essential services.
While *V-Gen* tackles heavy themes, it is also filled with humor. In one comedic scene, Vision is asked to answer religious questions but becomes overwhelmed by the contradictions in various interpretations of the faith, illustrating the complex and often divisive nature of religious discourse in Pakistan. In another scene, Vision unexpectedly learns and uses Pakistani curse words to berate the team for a minor mistake, providing a moment of comic relief while also satirizing the frustrations of daily life in the country.
In a more intimate moment, a female character, played by the director herself, asks the AI to express love towards her. The robot’s awkward attempt to comply leads to an unexpectedly humorous and touching interaction, adding another layer to the play’s exploration of the limitations of technology in replicating human emotion. This moment, while light-hearted, offers a deeper critique of how emotionally disconnected societies can become in a world increasingly reliant on machines.
The play’s set design is one of its most striking features. The decision to cover the stage with newspaper clippings emphasizes the overwhelming influence of media on public perception. As Mustafa explained, real newspaper headlines, especially from smaller publications, are often more dramatic and absurd than fiction, and this is reflected in the chaotic, cluttered set. The set itself serves as a metaphor for the confusion and disorder in Pakistan’s socio-political landscape, with layers of information and disinformation piling up in a way that stifles clear thinking and progress.
As the story reaches its climax, the distinction between human and machine begins to blur. In a thought-provoking finale, the human characters start to adopt robotic behaviors, raising questions about how much society has become mechanized. The play leaves audiences contemplating whether the technology designed to solve problems is actually becoming part of the problem itself, or even exacerbating the flaws of human nature by mirroring the corruption it has been programmed to analyze.
*V-Gen* ends on an open note, offering no easy answers but provoking deep reflection on the intersection of technology, bureaucracy, and human failings. Bazelah Mustafa’s direction masterfully balances satire, humor, and poignant social critique, making *V-Gen* a bold exploration of Pakistan’s societal challenges. The play’s ability to blend cultural nuances with futuristic themes gives it a unique flavor, pushing audiences to consider the implications of relying too heavily on technology to solve human problems without addressing the fundamental issues of governance, meritocracy, and moral integrity.
