Murad Khan's script deals with the debate between Shariah the traditional belief of Islam and Marefat the faith in the existence of God in love. Murad's play is not against the traditional faith. However, by showing the generosity and transparency of the followers of Marefats, Murad hails Marefat--the concept of love between man and nature, nature's elements and above all God. Murad's quest in the play is to find the existence of God in the daily activities. The playwright thinks this type of spontaneous belief poses less chance of hypocrisy and jealousy than the traditional one. The local dialect of greater Sylhet region has been used in Koinna.

Director Azad Abul Kalam has created some spectacular visuals of transformation of souls, intimate relations between a woman and a fish and others on stage. The most interesting part of his direction was the smooth transition between scenes. But, it was not clear what the director suggested by showing a believer of Koinna Pir taking drugs. Does he want to portray that we may find God in love and daily activities or does he want to visualise a true picture of the dens of Pirs? His approach is unclear.

Rahul Anand's music composition deserves plaudits.

Set designer M Shaiful Isam has created the atmosphere of a pond and its bank in his unique style--by using some painted vertical elements on the stage. Changing some stagecraft and using symbolic light effects, Shaiful has created an ambience like the den of Koinna Pir, nature and others. However, his lighting cues failed to follow the acting cues.

The sequences when Shahana Rahman Sumi talks with the elements of nature and Bahurupi, were both spontaneous and spectacular. Other performers also played well.