A theatrical masterpiece in bending The Rules of Love

A faint blue light and smoke spills down the steps of the stairway to the theatre hall. Volunteers in the hall beckon you forward, rubbing a bit of attar on your wrist before you take your seat in the arena-style theatre. As the doors close, allowing the blue light, smoke, and the smell of attar to consume your senses, the theatre is a theatre no more—you have been transported to the time of Jalal ad-Din Muhammad Rumi and Shams Tabrizi. 

The play, 'Rules of Love' adapted after Elif Shafak's 'The Forty Rules of Love' and Nigel Watt's 'The Way of Love', was an exploration of the deepest kinds of love. Mahedi Tanjir was the director of the play, as well as the person behind its dramatisation. 

The production was by the Theatre and Performance Studies Department of Jatiya Kabi Kazi Nazrul Islam University. With the conclusion of four shows being on 4 January, the play was held at Bangladesh Shilpakala Academy's Experimental Theatre Hall, 

The story is told in two parallel timelines. 

In the 13th century, Shams Tabrizi and Rumi found their way to each other, setting forth a bond so strong it is talked about to this day. On the other hand, in 2024, a Jewish Ella comes across the email address of the Sufi follower Aziz, leading to a forbidden romance. 

Both relationships hold one thing in common—their love story is frowned upon by society. Rumours circulate between Shams and Rumi, while Ella finds love outside her marriage.

The play was as beautiful as it was intriguing. Having two different stories and timelines to present in front of a live audience can be quite the challenge but the team pulled it off with ease. 

The defining feature of Shams' timeline is its artistic beauty. The stage has a way of reflecting the beauty of Islamic art through symmetry in the placement of performers on the stage. 

Hidden behind the choreography and powerful moments, the circle keeps returning to the stage. Be it in the form of Sufi whirling or interlinked dervishes surrounding Rumi and Shams, showing their bond. 

While the past is made up of softness, neat shapes, and symmetry, Ella's timeline is loud and bright, bordering on overstimulating. 

I flinched at the first transition to the modern day as loud and heavy music blared out of the speakers. The creative decision to stylise the current day as such made sense for the technology-addicted era.

Every performer became one with their character. In a way, I was glad that the performers did not rely on echoing microphones, instead using the raw power of their voices to carry their dialogue to the crowd.

Mohammed Shaheen Alam, who plays both David and the King, switched to a raspy voice for the King to add more dimension to his character. Rumi, played by Rafel Afrad, always keeps a softness to his demeanour and tone, adding to his soft nature. In moments where Ella is overcome by grief, Jafrin Haque Toru is not afraid to hold back, letting out an ear-piercing scream. 

However, without a doubt, Mohammed Shakil Ahmed stole the show with his role as Shams. In moments of rage, he whips his walking stick, letting it down on the stage with a bang that echoes through the hall. Every emotion, from anger to the deep love he had for Rumi—it was all as clear as day on his face. 

Though the crowd did not fill up all the seats in the hall, I believe each person left a little mystified and in awe of such a well-done production.