Review - Good Muslim Boy

Malthouse Theatre Presents

Good Muslim Boy

By Osamah Sami

Adapted for the stage by  - Osama Sami and Janice Muller

Direction Janice Muller

Cast

Rodney Afif

Nicole Nabout

Osamah Sami

Set and Costume Design – Romaine Harper

Lighting Design – Ben Hughes

Sound Design and Composition – Phil Slade

Stage Manager – Jess Keepence

The Beckett

9 Feb to 11 March 2018

Personable, enigmatic star of the autobiographical film Ali’s Wedding Osamah Sami takes us on the journey of a lived memoir, from his own story Good Muslim Boy, of an almost unbelievable romp in Iran.  Well timed, beautifully underscored with sound and music (Phil Slade) on a very functional set designed by Romanie Harper three actors bring to life this gem of a ‘stranger than fiction’ narrative.    

As an especially funny story it offers a night of laughs.  The action commences with a chat to the audience that has the feel of stand-up-comedy about it and then proceeds to detail a chain of events in the form of numerous vignettes that swiftly morph – one into the other.  Osamah Sami plays himself as he battles, with characters of the bemusing and confusing Iranian bureaucracy, to bring home the body of his Father who suddenly died on a father and son holiday/personal pilgrimage to Iran.   

The opening works well.  However throughout Sami could reach out more fully to his audience and take greater advantage of the organic nature of Storytelling in live theatre.  As audience we are very keen to connect to this extremely charismatic protagonist.  If he spoke to us more fully more often it would be gratifying.

The work is particularly fascinating because the cultures of the Middle East tend to mystify us.  Since the Iranian revolution of 1979 the West could be forgiven for thinking what was once Persia is a very dangerous place.   Sami and director Janice Muller subtly imbue the action with the sense that danger could be lurking around any corner and behind any official counter.   Yet, as the story unfolds Sami courageously unswervingly follows instructions and takes massive risks, such as travelling without a passport, to succeed in his daunting quest.

As a whole Good Muslim Boy comes across as intense Iranian experience from Western eyes.  What is extraordinary is the nerve, pluck and daring Sami garners to get through the mysteries of the intense ordeal and home to Australia with his father’s body.

Rodney Afif beautifully fulfills his roles, including that of Osamah Sami’s father, with clean definition and commitment.  Nicole Nabout in her depiction of numerous characters displays exquisite versatility and is quite magic at times.  

The lighting by Ben Hughes, however, doesn’t fully support the staging.  Too often it is murky and dark and lacking variation and definition.  This could signify pollution, or be intended to enhance the pervading sense of mystery in the machinations of the treacherous series of events.   However I feel there is too much shadow.

All in all - Good Muslim Boy is a most entertaining, enlightening and enjoyable evening of theatre. 

Most enjoyable!

Suzanne Sandow

(For Stage Whispers)

Review - Tales of a City by the Sea

Tales of a City by the Sea

By Samah Sabawi

Original Direction – Lech Mackiewicz

Remount Direction – Wahibe Moussa

Set Design Lara Week

Lighting Design – Shane Grant

Sound Design - Khaled Sabsabi

Producer - Daniel Clarke

 

Cast

Jomana – Helana Sawires

Rami - Osamah Sami

Lama/Relative at Hospital – Emina Ashman

Ali – Reece Valla

Abu Ahamad/Relative at Hospital – Alex Pinder

Samira/Relative at Hospital/Wedding Guest – Rebecca Morton

Nurse/Um Ahmad/Security/Mother – Cara Whitehouse

Singer – Asell Tayah

Mohanad/Security/Father/Wedding Guest – Ubaldino Mantelli

La Mama Courthouse

May 11 – 29, 2016

(Part of the 2016 VCE Drama Playlist)

An excellent ensemble of multicultural performers work closely together to draw together and express the story of star crossed lovers who are both, perhaps a little surprisingly, Palestinian.

He, Rami (Osamah Sami) is a doctor who runs a medical clinic in the USA and she, Jomana (Helana Sawires) a journalist who was born and raised in the Shanti (beach) Refugee Camp in Gaza.  He comes and goes into this volatile site of the bitter struggle of the siege of Gaza that took place in 2008.  They are just like young lovers from anywhere and any culture. 

It is not a story of conflict, of brutal ingrained enmity between Israeli and Palestinian but a story of romantic love with a backdrop of engrained enmity that’s conflict extends into every nook and cranny of life. 

This poetic production is framed with the glorious haunting Arabic songs sung by Aseel Tayah who is dressed in traditional costume.   And staged on a set (Lara Week) of curtains (apparently made of sheets) that allow for a flow of expressive imagery and the creation of potentially unlimited environments.  The sea is a very strong motif as emphasized through sound as designed by Khaled Sabsabi.

As a piece of theatre it has an engaging and engrossing through its linear narrative and all performances honor the writing that is glistening poetry at times.

Generous nurturing direction by debuting director Wahibe Moussa, with an emphasis on emotional sincerity that is at times frustratingly static, supports the poetic nature of Samah Sabawi’s writing and endorses clarity.  Perhaps with some more time, inventive and adventurous, risks in staging could have been played with and incorporated.

This is a work that all creative artists, cast and La Mama should feel great pride in bringing to a Melbourne audience - particularly in view of any controversy drawn from where the story is set and the wonderful mix of multicultural performers.

Suzanne Sandow

(For Stage Whispers)

Review - I Call my Brothers

Melbourne Theatre Company Education Presents:

I Call My Brothers

By Jonas Hassen Khemiri

Translated by Rachel Willson-Broyles

Cast

Ahlem - Alice Ansara

Amor – Osamah Sami

Shavi – Ray Chong Nee

Valeria – Joana Pires

Production

Director – Nadja Kostich

Set and Costume Designer – Marg Horwell

Lighting Designer – Rachel Burke

Composer and Sound Designer – Darrin Verhagen

Video Designer – Michael Carmody

Stage Manager – Vivienne Pozanski

Southbank Theatre, The Lawler

16 April to 1 May 2015

Regional Tour

4 May to 18 May 2015

I Call My Brothers is an intelligent, probing and poetic work that explores some of the rippling shock waves resulting from an inner city bombing.  It is superbly presented with all aspects woven together to create complex tapestry.   Layer on layer of story un-folds through the unreliable perceptions, of the main protagonist Amor (Osamah Sami), gradually informing the audience.  It feels like a rich rewarding journey of chasing, sometimes fleeting, meaning and is full of revelation.

This is the sort of satisfying Theatre that works the audience’s intellect, perceptions and emotions all at the one time.  It moves swiftly and efficiently and is not needlessly didactic or overtly literal but is primarily thought provoking.

As Theatre in Education the high caliber of the material can only be good for Secondary Schools Students and a ‘God Send’ for Teachers.  There are many issues and points of entry for Students.  Pertinent contemporary concerns are highlighted such as generational trauma, terrorism, suicide bombing, grief, alienation, friendship and psychological well-being.

The interactive set by Marg Horwell amongst other things serves as a metaphor for the main protagonist Amore’s mind.  And Horwell’s costuming is fittingly indicative and somewhat abstract.    Lighting (Rachel Burke) enhances scenes and atmospheres wonderfully.

Photo - Jeff Busby

Sound and composition by Daniel Verhagen is rich and varied.  It creates atmosphere and enhances the sense of journey of the whole. 

The actors Alice Ansara, Osamah Sami, Ray Chong Nee and Joana Pires work as an efficient, energetic and focused ensemble to serve the piece admirably.  Sami as Amor impressively plainly and clearly conveys his character’s messed up journey.

As director Nadja Kostich excels in bringing all elements together to allow for nuance.  She has the considerable advantage of working with a very seasoned production team.   Most significantly it is the commitment, comfort and clarity that the actors communicate with, that endorses her work as Director.

Suzanne Sandow

(For Stage Whispers)