Saniya Anjum /Bengaluru

Ameen Sayani's presentation of Binaca Geetmala, a popular radio show of songs from Hindi movies, for nearly half a century, fired the imagination of millions across India. Among them was Zafer Mohiuddin, who came from the sunbaked streets of Raichur, Karnataka. Sayani’s voice shaped Zafer’s dreams. He was also influenced by the typical dialogue delivery of thespian Dilip Kumar; He was captivated by the Bollywood actor's emotive pauses and expressive silent countenance.

This all happened in the era of cinematic masterpieces. The soulful rhythms of Binaca Geetmala, the dramatic allure of Dilip Kumar’s performances, and a tapestry of other cultural touchstones—from local folk tales to the vibrant bustle of Raichur’s markets—fuelled Zafer’s fascination with storytelling and the performing arts.

In 1979, he moved to Bengaluru to pursue a Bachelor’s in Architecture at UVCE (University Visveshwaraya College of Engineering), where the city’s vibrant theatre scene ignited his artistic journey. There, he joined groups like Samudaya and Bangalore Little Theatre, and collaborated with Shankar Nag, writing dialogues for 13 episodes of the iconic Malgudi Days.

Zafer Mohiuddin in a stage play

Years later, in 1984, this foundation would carry him through a moment of profound personal loss, as he channeled his grief into a performance that echoed the very cinematic intensity he had admired, proving that life’s most poignant moments often mirror the emotional depth of the films that had inspired him.

During his initial days of career, a chance encounter on a bus changed everything. Zafer, barely scraping by, found himself seated beside R. Nagesh, a luminary of the Karnataka Nataka Academy. In that fleeting, serendipitous moment, Nagesh leaned over, his eyes glinting with recognition. “Your voice,” he said, “it’s like Amitabh Bachchan’s—raw, resonant. But it needs modulation.”

Zafer Mohiuddin in a stage play

Driven by Nagesh’s words, Zafer began to chase the potential of his voice. Money was tight, the hustle relentless.

His first break was a modest advertisement gig for which he was paid 50 rupees—a fortune when a round-trip bus ticket cost just a rupee. The thrill of that first paycheck wasn’t just about the money; it was a whisper of possibility, a sign he could carve a path where none existed.

Zafer found himself in Bengaluru’s Little Theatre, where an Englishwoman’s lecture on voice modulation captivated him. She spoke of pauses, of silences that carried as much weight as words. Zafer drank it in, his mind alight with the cadence of Dilip Kumar’s iconic delivery—those deliberate, soul-stirring pauses that could hold an audience captive.

Theatre became his crucible, the recording studio his forge.  Zafer honed his craft, each performance a step toward mastery. Years later, destiny circled back. R. Nagesh, a towering figure, was called Zafer for a documentary project. When asked about his fee, Zafer could barely speak, “No charge.”

Nagesh had no memory of their earlier meeting. It’s another matter that Nagesh paid his remuneration.

Life took Zafer on an unexpected route: A UPSC selection landed him in Delhi, where he had a prestigious job and stability. But the call of his voice was louder. He resigned, trading bureaucracy for the unpredictable pulse of artistry

.Zafer Mohiuddin in a stage play

His voice-over work in ten languages, including narrating all 13 episodes of Swaraj Namah for Doordarshan, directed by Girish Karnad, showcased his storytelling across mediums.

In 1984, one day, Zafer was to perform on the stage when he received the news about his father's death. “The show must go on,” he declared, embodying theatre’s ethos of teamwork and sacrifice, and gave one of his finest performances on the stage the same evening..

Zafer founded the Kathputliyaan Theatre Group in Bengaluru in 1988, its name evoking puppets and the metaphor of life as a stage. His mission was to address social issues and celebrate Indian literature, arts, and music through drama.

Productions like Zikr-e-Ghalib, a musical homage to Mirza Ghalib’s poetry, performed at the Indian Consulate in Dubai in 2016, Tipu Sultan ke Khwaab, an Urdu translation of Girish Karnad’s play published by Karnataka Urdu Academy and released by Chief Minister Siddaramaiah during Tipu Jayanti at Vidhana Soudha in 2016, and Jiss Ne Lahore Nai Dekhya by Asghar Wajahat—one of his best works— weave cultural heritage with social commentary.

Tipu Sultan ke Khwaab was performed at the 8th International Theatre Olympics 2018, captivating global audiences.

Aadhe Adhure tackles the dysfunction of relationships, while Ek Actor ki Maut, translated from Croatian writer Miro Gavran, probes the conflict between cinema and theatre, reflecting Zafer’s knack for choosing stories from real-life characters and issues around him. Additional hits like Pyaari Padosan (translated from Marathi by Suresh Khare) and Saadhe Chay Rupiye ka kya kiya were played to packed houses in Delhi, Hyderabad, and Dubai.

His decades-long association with theatre stalwarts Girish Karnad and MS Sathyu deepened his craft, enriching his ability to blend cultural depth with social critique.

Growing up in Raichur, Zafer witnessed Urdu’s rich, inclusive legacy—Brahmins and Hindus spoke, read, and wrote the language with ease.  When Zafer was late for class, he told his non-Muslim teacher he was delayed due to namaz. The teacher asked him to explain the meaning of Surah Fatiha. Stumbling, Zafer was astonished when his Brahmin teacher taught him about Sirat-e-Mustaqeem—the straight path—leaving him flabbergasted by the shared cultural fluency.

Years later, in 2002, from his base in Bengaluru, Zafer channeled this insight into his Urdu play Zaban Mili Hai Magar, boldly challenging the misconception that Urdu is exclusively a Muslim language, celebrating its universal spirit. The play Zaban Mili Hai Magar opens with the resonant strains of M.S. Subbulakshmi’s Suprabhatam, creating a meditative atmosphere, and celebrates Urdu’s secular legacy through characters like Ram Narayan Rahbar, a non-Muslim naat writer.

Zafer’s plays shatter the silence on societal rot, with Aadhe Adhure clawing into the festering wound of dysfunctional relationships—exposing a woman’s desperate dance across multiple relationships, crushed under the boot of a society that brands her every step as scandal. His adaptation of Ek Actor ki Maut, translated from the Croatian writer Miro Gavran, delves into the conflict between cinema and theatre. Drawing from real-life stories, Zafer’s collaborations with Bengaluru’s theatre groups—Samudaya, Bangalore Little Theatre, and Manch—honed his ability to blend social critique with cultural pride, ensuring his plays resonate with authenticity.

In a world dominated by digital entertainment, Zafer faces challenges in sustaining Hindi and Urdu theatre in Bengaluru.  He sees theatre as the ultimate training ground for modulating voice and emotions.

To overcome financial hurdles, he leveraged his versatility as a voice-over artist in ten languages for documentaries, animations, and religious websites. His work on Malgudi Days and Swaraj Namah showcases his storytelling across mediums, but theatre remains his core passion. “Theatre is human,” he says, emphasising its raw connection with audiences. As a two-term president of Alliance Française de Bangalore, he fosters Indo-French cultural exchange, enriching his artistic perspective.

Zafer’s roles as an architect, writer, voice-over artist, and president of Alliance Française de Bangalore enrich his storytelling. His brief foray into politics with AAP and Congress reflects his social commitment, though he chose art over politics. Each role fuels Kathputliyaan’s mission to promote awareness and unity through theatre.

In November, just days after this story was compiled, the Government of Karnataka conferred the prestigious Rajyotsava Award on Zafer Mohiuddin in recognition of his lifelong contribution to theatre, Urdu literature, and cultural harmony.

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Zafer envisions Kathputliyaan expanding beyond Bengaluru, taking its socially conscious plays to national stages. He dreams of workshops to train young artists in Urdu and Hindi theatre, preserving their cultural richness. Productions like Pashmina & Didi IAS, blending Kashmir’s loss with bureaucratic satire, keep theatre relevant and provocative. His goal is to inspire a new generation to see theatre as a catalyst for change.