Bold truth:Monkey Business exposes how far some artists will bend to chase payoffs, and the consequences are both hilarious and harsh. But here’s where it gets controversial: is the play merely poking fun at a flawed character, or is it holding a mirror to a system that rewards bluff over integrity? Read on to see why this isn’t just a comedy—it's a conversation worth having.
Monkey Business, a collaboration from LO IQ Films with Asiyah Majeed and Sajeel Meer Kazmi, directed by Yasir Hussain, welcomes you into a modest living room. The setting belongs to Mr. and Mrs. Waseem, a couple scrapping by on limited means. Mrs. Waseem paints for a living, while Mr. Waseem tries acting, even if the gigs don’t always pay the bills. They live in a house provided by her father, a quiet detail that signals the financial strains shaping their days.
The plot pivots when Mr. Waseem receives a call from an investigation officer at the Arts Council. The calm domestic scene shatters as we learn he has crafted an entire fake identity to access a financial support scheme for struggling artists. He feigns a limp and claims his wife is deaf so she can qualify for the same monthly aid. One lie spirals into another, and soon the deception is sprawling. His wife remains in the dark, and now the officer is on the way to verify documents and signatures.
With the officer’s imminent arrival, the situation erupts into controlled chaos. The lies must pass as truth, the characters must improvise on the spot, and the home gradually transforms into a stage for sleepless, improvised scheming. What begins as a “harmless little fib” escalates into farce, and Mr. Waseem’s frantic bid to stay believable drives the majority of the humor.
The core message is straightforward: if artists were paid fairly, particularly through royalties, they might not resort to desperate measures. The play communicates this clearly, but its delivery weaves together comedy, drama, and social critique. At times, the production attempts to juggle too many aims—entertainment, jokes, moral messaging, and serious takeaways. In certain scenes, the mix clicks; in others, it feels uneven.
Some creative choices could have been tightened. The background music, for instance, occasionally overpowered quiet moments. The last twenty minutes felt longer than necessary. The ending lands, but a tighter close would have improved the overall flow.
Where Monkey Business truly shines is in its comedy. Hussain embraces the madness of the liar’s unraveling performance space, and the script gives him ample room to perform. While some gags skim crass territory, many are sharp, well-timed, and genuinely funny. Pop culture references land effectively with the audience—Ahsan Khan, Humayun Saeed, and Aamir Khan’s perfectionism; Aishwarya Rai’s daughter Aradhya; cricket legend Wasim Akram; and even the timeless Memon pronunciation bit all hit home.
A notable standout is the kooray wala (trash collector) character. He appears amid the chaos but ends up delivering a pointed moment about cleanliness and Karachi’s state of affairs. The city’s infrastructure and filth surface repeatedly, with a line that stings because it rings true: “The city’s condition is terrible. Either send me to Lahore or bring Maryam here.” It’s funny, yet painfully honest.
The dialogue sticks with the audience long after the curtain falls. Lines like “Cheating ko Waseem bhai se zyada koi nahi janta” (No one knows cheating better than Waseem Bhai), “Kitne Sherry maaro ge, har ghar se Sherry niklega” (How many Sherrys will you churn out? A Sherry will appear in every home), and “Kabhi yahan gir rahe ho kabhi wahan. Kya Indian forces ne tayyar kiya hai?” (You’re always teetering. Did Indian forces train you?) punch through the noise and linger. Sherry, the energetic upstairs friend who piles into the deception, adds another layer of levity.
In the end, Monkey Business remains a lighthearted evening out. It delivers laughter, threads in reminders about ethics and survival, and offers a glimpse into the lengths artists go to behind the scenes. It meanders at times and preaches a touch, but it also entertains. And sometimes, that’s enough for a night out.
This production marks Monkey Business’ second run—the first occurred in April of this year. It continues at the Arts Council of Pakistan in Karachi through December 18.
Photos: Jawwad Mushtaq via Yasir Hussain/Instagram
