Safeer Ullah Khan is a seasoned theater practitioner with over 25 years of experience in using theater as a tool for social change. He currently runs, in partnership with Fizza Hasan, a theater group called ‘Theatre Wallay‘
There is a troubling lack of understanding regarding theater, particularly community theater. For instance, a certain NGO recently proposed that a full-length 60-minute play be developed, rehearsed, and performed within just twenty days. Their expectations included writing the script, selecting actors from within the community, training them, and organizing five to seven performances within a timeline that also includes weekends and public holidays.
This reflects a fundamental misconception: some seem to think that creating a theater production is as quick and simple as writing a project report. The reality is far more complex, especially when working within communities where participants often have no prior exposure to theater.
Those making these decisions rarely consult theater practitioners while designing such projects. They don’t stop to ask: How long does it take to create a quality production? What are the necessary steps? What resources are required?
Let us outline what the process of community theater development typically involves:
- Community Engagement and Exploration:
Before anything is written or performed, facilitators must spend time understanding the community, its issues, language, social dynamics, and lived experiences. This process can take several days and often involves storytelling sessions, discussions, and informal interactions. - Story Collection and Script Development:
The next step is to collect real stories and collaboratively shape them into a theatrical narrative. In many cases, the script is co-created with community members, ensuring authenticity and ownership. This phase alone may take a week or more, especially if the aim is to develop a play that is meaningful and contextually relevant. - Casting from the Community:
Once the script is ready, suitable individuals from the community need to be identified and invited to participate. These individuals usually have no prior experience in acting, which means the selection process must focus on willingness, confidence, and commitment. - Capacity Building and Rehearsals:
Community members must then be trained in basic acting, voice, movement, and stage presence. Rehearsals are essential—not just to memorize lines, but to build ensemble work, emotional connection, and performance confidence.
The duration of rehearsals depends largely on the length and complexity of the play. A widely accepted guideline among theater practitioners is that rehearsal time should roughly match the number of minutes in the performance. For example, a 60-minute play typically requires around 60 days of rehearsal. This becomes even more critical when working with first-time performers from the community, where more time is needed for learning, experimentation, and confidence-building. - Production Elements (Props, Costumes, Music):
Parallel to rehearsals, basic production elements such as costumes, props, and music (if any) need to be arranged. These are not merely decorative—they help communicate the message and create a more engaging experience for the audience. - Performance and Post-Show Dialogue:
A single performance is not enough to make a lasting impact. Multiple shows should be organized in different areas of the community or district. After each performance, facilitated discussions are usually held to encourage reflection and dialogue around the themes presented in the play.
Given all these steps, the idea of completing the entire process—story exploration, script writing, casting, training, production, and performances—within twenty days is not only unrealistic, but also undermines the very essence of community-based theater. This kind of work requires time, patience, cultural sensitivity, and creative collaboration.
Unfortunately, this is not the first time we’ve encountered such impractical timelines in calls for proposals. When we try to explain why the expectations are unfeasible, we are often ignored. And when the project fails to deliver meaningful results, some return—humbled and seeking advice—while others, embarrassed by the outcome, simply disappear from the conversation.
It is time for those designing theater-based interventions to recognize that meaningful theater, especially within communities, is not a product to be rushed. It is a process of transformation, storytelling, and connection. Respecting that process is the first step toward success.
