Iman Qureshi’s fresh and unique script, first staged only last year, depicts the lives of four very different, but equally as troubled characters. Set in a Muslim funeral parlour run by Ayesha and her husband, Zeyd; we as the audience quickly realise that the constant looming of death in their busy jobs is not the most traumatising element to befall these characters. This is evident from the opening scene in which Ayesha is preparing an infant for burial, whilst having a casual conversation with her husband. This is a play with much deeper roots; a play in which the unsaid speaks volumes. A clever and funny script about politics, society, religion and sexuality, which successfully validates each character’s opinion.
I knew little of this play before sitting down in HOME’s theatre, and was wowed by the levels of performance and preparation. Each member of the cast were wonderfully moving and equally as comical, working fluidly as an ensemble. They took us on a journey of ups and downs, in which I as an audience member felt fully invested in each character. Ayesha, played by Aryana Ramkhalawon, and Zayd, played by Assad Zaman, worked wonderfully together and their chemistry shone through on stage. The audience laughed with them and wept with them. The other two actors in this production; Francesca Zoutewelle who played Janey, Ayesha’s old school friend, and Edward Stone who played Tom, a grieving boyfriend seeking help from the Muslim funeral parlour, were both equally as moving. The script leant itself to great performances, and these four wonderful actors did not disappoint.
Beautifully directed by Hannah Hauer-King, who aims to give a voice to ‘those that are often unheard’. In this production, she ensures that every voice is heard, during both their lighter moments, and their moments of grief and loss.
The funeral parlour is Ayesha and Zayd’s life, and this is reflected through the wonderful design. The set replicates a Muslim funeral parlour, and this is the only location we can visually see as an audience. Coupled with the blending of traditional music from the Muslim culture, which morphs disturbingly into discordant, clashing bass notes. The lighting also replicated a funeral parlour, with bright, white lights; bare and exposed. Similarly to the dead bodies they must wash and dress, and similarly to the four characters of the play when their struggles are revealed. Recognition must be given then, to the designer; Amy Jane Cook, the lighting designer; Jack Wier and the sound designer; Max Pappenheim.
This was a small scale theatre piece, shown in theatre 2 at HOME. Rightly so. This is how this production should be seen. The intimacy between the characters and the audience seems almost essential for this script. We are peeking into their private lives, we can hear their whispers as well as their shouts. Such a wonderful play throughout, in which the script was so well-written and performed that the lack of interval did not seem to matter. This production is unlike any other piece of theatre I have seen, and I urge people to see it if they can. It raises questions of religions and British society, and it does not answer them for us. Ultimately, we as an audience decide for ourselves what is right and wrong. I can find no criticism with this production. You can understand why this script won Papatango’s 10th annual New Writing Prize; it is current and important. It is also hugely funny, and it succeeds in blending these genres together seamlessly.
Reviewer - Megan Relph
on - 28/3/19
photo credit - Mihela Bodlovic
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