Elodie Vidal reviews an exceptional melding of myth and modern protest in Arab Nights at Soho Theatre
Given its complex narrative structure and multiple narrators, The Arabian Nights are not easy to adapt to the stage. Arab Nights therefore takes a considerable risk in adding yet another dimension: the recent Arab Spring, to the collection of stories. But this daring choice magnifies the creative team’s achievement, for the play succeeds on all accounts.
In order to protect the women of her city, Shahrazad (Dina Mousawi) has agreed to marry King Shahrayar, the sultan who executes his young wives the morning after their wedding night. To save her own life, she decides to distract the King with stories. Launching into tales of adventure, romance and revolution, postponing her death night after night.
Director Poppy Burton-Morgan approaches the revolutions with powerful videos of demonstrations and a testimony of torture. But, exceeding expectations, she (and the six writers who contribute a tale to Sharazad’s collection) goes on to represent the Spring through a series of interesting metonymies.
The first features social media. Acknowledging its part in the uprisings, it is included in several of Shahrazad’s tales, adding an interesting anachronistic touch to the stories. Shoes also feature heavily, being so representative of protest -for being waved or thrown, or purchased at an outrageous price by the Syrian President’s wife. Designer William Reynolds creates a set from shoeboxes, and they provide an unusual source of comedy by posing as aircraft oxygen masks or rifles.
Although the introduction of the Arab Spring gears the production in a fresh direction, Arab Nights also plays The Arabian Nights’ original assets to its advantage. It rests on the work of six authors, securing variety and a mysterious appeal by making the narrative voice uncertain. The Nights’ storytelling dimension comes into play to ensure audience involvement. Breaking theatre’s traditional hierarchy, Burton-Morgan includes the spectators in the performance: allowing them a word in Shahrazad’s fate at the end of each story, inviting them on stage to play small parts, or getting them to interact with the characters as audience.
Dina Mousawi is perfect as strong but endangered storyteller, her charismatic, charming performance makes it easy for the audience to follow her adventures and repeatedly save her from execution. Natalie Dew’s intensity as her wily sister and storytelling aid makes her different characters completely magnetic drawing all eyes to her. Similarly, Lahcen Razzougui as her brother makes his everyman persona feels so genuine that his presence instigates a friendship and a brotherhood among us.
In short, Arab Nights is an unequivocal achievement. With its exciting treatment of current
events, its ingenious use of The Arabian Nights’ original qualities and its beautiful acting, it offers an experience at once magical and profound.
Arab Nights runs at Soho Theatre until 1st December
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