he year 2025 kicked off on a high note for the multi-talented Yasir Hussain, who’s once again proving his mettle as an actor, director, and writer. His comedy theatre production, Monkey Business, took to the stage and set the box office ablaze, catapulting him into a bonafide theatre success. The play became an overnight hit, travelling from Karachi to Lahore and Islamabad. At the moment, it is heading to Faisalabad.

Simultaneously, Yasir is directing the TV serial Paradise, starring his wife, actor Iqra Aziz and actor Shuja Asad in the lead roles. The show takes a nostalgic turn, returning to an era when stories extended beyond romantic leads and embraced a multi-layered ensemble of compelling characters. It’s a refreshing break from the formulaic television fare dominated by love triangles and saas-bahu tropes. Managing both projects at once, Yasir is demonstrating his creative agility and artistic vision. In this exclusive interview with Instep, he opens up about how he delivered on both fronts without missing a beat

Instep: What inspired you to write Monkey Business? How long did it take to bring it to the stage?

Yasir Hussain (YH): I hadn’t written anything since Chhalawa,, and that dormant writer in me was itching to make a comeback. This time around, I wanted something compact—a play with a running time of about seventy minutes. Writing Monkey Business took about a month and a half, and rehearsals lasted roughly the same. We had it up and running in just under two and a half months. I was also shooting for Paradise at the time, so after wrapping on set, we’d head to my office for
rehearsals, and later shifted to the Arts Council. Most of the Monkey Business cast is also
involved in Paradise, which helped in keeping the energy cohesive.

Instep: How do you mentally switch gears and get into writing mode?

YH: I usually sketch out the story first and then build the dialogue day by day. That’s my go-to creative process.

Instep: Can you describe the atmosphere during rehearsals for Monkey Business?

YH: It was absolutely electric. Since I was working with a familiar team, the energy was vibrant and collaborative. Rehearsals were key to refining the script, but we fine-tuned the blocking and movement on the main stage. We typically moved to the theatre four or five days before opening night. My office felt more like a family space, which made the entire process flow effortlessly.

Instep: What were your emotions on the night of the premiere? Were you nervous, excited, or both?

YH: Everyone gets nervous at a premiere, and I was no exception. It was my first time directing and producing something I’d written, so naturally I was anxious about how the audience would respond. Would they connect with it? Would they wonder what I was thinking? But as soon as I saw their reactions, the nerves disappeared.

Today’s audience is incredibly diverse. Some still enjoy melodramas like those on Star Plus, while others prefer local stories with complex, often flawed characters. I’m not against popular tropes, as long as they don’t have a negative impact. But we need more variety. If we respect our viewers, we have to offer richer narratives. – Yasir Hussain

Instep: What’s your take on the current state of theatre?

YH: To be honest, theatre needs serious support. It’s a constant challenge to keep the medium alive. I urge the authorities to step in — especially by waiving venue rents. Mounting a production is expensive, and ticket sales usually just cover the basics, leaving us with barely any profit. If we’re constantly spending on lighting, sound, and set design, we won’t be able to sustain it.

Instep: Isn’t it challenging to act and direct when we’re talking about the same production, especially in live theatre?

YH: Generally, I prefer to focus on direction and let others perform, as I did with Paradise. But comedy is a different beast. Our industry has a limited pool of actors who can truly master humour. Many are stuck in heroic TV roles, and it’s tough to get them to break out of those moulds. That’s why I sometimes bring in new talent—or take on the role myself.

Instep: What challenges did you face working across both mediums? How do you ensure both resonate with today’s audience?

YH: I’m an actor at heart. Even though I hadn’t acted on TV in years, I’m always interested if a role excites me. Balancing direction and performance is demanding, but the character in Monkey Business was so layered and dynamic that I couldn’t say no. The humour was strong enough to carry the play even if I made a few mistakes in direction. I know there were bound to be a few.

Instep: Your wife, Iqra, stars in Paradise. Was that a deliberate choice? And who’s the boss at home?

YH: Absolutely, casting Iqra was entirely my decision. Every director wants to work with a top-tier actor, and she’s phenomenal. On set, I run the show. At home? She often takes charge. Like any sensible husband, I know who’s really in charge.

Instep: What is the concept behind Paradise?

YH: The concept is simple yet layered. The story is packed with unexpected turns that keep both the audience and the network engaged. It moves at a steady pace—just enough to maintain curiosity without overwhelming viewers.

Instep: The show has a large, diverse cast. Was that hard to manage?

YH: Definitely. Managing a big ensemble is the most complex part of directing. Most actors are juggling three to five shows at once, so scheduling alone can feel like herding cats. Just when things line up, someone falls sick or gets pulled elsewhere. It took a lot of juggling, but we managed to stay on track.

Instep: People are comparing Paradise to the work of legends like Haseena Moin and Fatima Suriya Bajjia. Do you feel you’re continuing that legacy?

YH: Those writers are icons — I would never compare myself to them. But I did aim to give every character a sense of purpose. If the heroine has a friend, that friend should have her own arc—not just exist in the background. Some viewers aren’t used to that, but I wanted to show that each character matters and has a story worth telling.

Instep: With Paradise, you’re reintroducing a more classic pace at a time when drama storytelling has shif-ted. Are audiences adjusting?

YH: They’re slowly warming up to it. Paradise has a traditional rhythm but a modern sensibility. Today’s dramas tend to throw everything into the first episode to grab attention, but they often lose momentum. Paradise takes its time. It reminds me of the storytelling we used to have. In other words, less frantic and more fulfilling. Bridging that gap has been tricky, but it’s worth it.

Instep: What’s your opinion on how critics review dramas these days?

YH: Honestly, I feel many critics don’t fully watch the serials they review. Sometimes it seems like someone else is watching for them and sending back notes filled with unnecessary drama. Ironically, many critics are working in their own series too. So how objective can they really be? There’s a lot of inconsistency in such reviews.

Instep: How has the audience changed?

YH: Today’s audience is incredibly diverse. Some still enjoy melodramas like those on Star Plus, while others prefer local stories with complex, often flawed characters. I’m not against popular tropes, as long as they don’t have a negative impact. But we need more variety. Paradise speaks to those who want depth — not just another trend. If we respect our viewers, we have to offer richer narratives.

Instep: Both Paradise and Monkey Business feature a lot of new faces. Does casting fresh talent pose a bigger challenge?

YH: I feel incredibly fortunate to be in a position to showcase new talent. The biggest challenge is convincing others to give them a chance. Everyone wants to play it safe by casting established names. But bringing in newcomers was incredibly rewarding. They brought fresh energy and surprised everyone with their performances.