Richard III - An Arab Tragedy

Richard III, as an Arab – in Arabic. An adaptation. No, an extrapolation. An extension, and a statement about how we can be seen to be: Negative, and without room for hope. A slap. A scream. Felt and heard at the heart of Shakespeare's legacy. Juxtaposed in harmony. Executed by competence. Enriched by creativity. It melts pride into doubts and questions. It challenges, provokes, insults, and attacks.

It opened with Margret stating (in a generic badawi dialect - ...انا مارقرت):

“I am Margret. You needn’t be concerned about me. We lost. It is your right to ignore me. I would ignore myself if my history let me. I don’t want your loans, your gifts, your reconstruction grants. I don’t want your pity: we lost. All I ask from you is not to question my thirst for revenge: it is not because I am Arab – I have a degree. And anyway, my name is not Margaret. But our history is so awful, even the victors have changed their names.”

And so started the discontent of Sulayman Al-Bassam’s (سليمان البسام) take on Richard III. I thought that we walked in prepared, but our defenses were conquered within a few minutes. The intimate stage left no room for distractions. The amazing cast delivered with power, and engaged even at moments of stereotyped melodrama. The creative script transformed Richard III into current reality, and maintained attention. The live musicians, with authentic Kuwaiti/Arabic instruments (mirwas, taar, oud - consulted by سليمان القصار) mixed by an audio wizard (Lewis Gibson), amplified the mood and engulfed. An ominous set of monitors in a dark corner of the set reminded all of the time this play was set. The actors, dressed in costumes, designed by Abdulla Al-Awadi (عبدالله العوضي), also snapped us into believing this time-shift. From Margret’s (Amal Omarn - أمل عمران) dark trailing gown, to the ridiculous poodle-shaped hand bag worn with pride by nouveaux-riche Lady Anne (Nadine Joma’a - نادين جمعة).

I was entranced, but kept taking the slaps. Eyes widened, and jaw dropped at some scenes – most of them delivered strong by Fayez Kazak (فايز كازاك) as Emir Gloucester, and then convincingly as Richard III. I felt for the downfall of Carole Abboud’s (كارول عبود) Queen Elizabeth. Jassim Al-Nabhan (جاسم النبهان), added grace as Emir Clarence, then as Stanley, in a ridiculously funny scene set in a TV studio, where Richard acts coy about his ascension. I cracked in laughter when Monadhil Daood (مناضل داوود) came out as an ailing King Edward IV from a time of simplicity, when dates were an answer to all ills. The versatile Bashar Abdullah (بشار عبدالله) and Faisal Al-Ameeri (فيصل الاميري) kept things rolling with dynamism.

We were lucky to have seen this production in Startford-Upon-Avon, the birthplace of Shakespeare. At a follow-on discussion, Jassim Al-Nabhan was emotional when he told the audience how appreciative he was to be there in the autumn of his career – at a place that honours the tradition of theatre.

So, where will this talent go next? They said to a few festivals – Amsterdam, Japan, maybe Qatar. When asked why not Kuwait. Sulayman said it’s because of infrastructure, not politics. Will it be recorded? Maybe. He thought it might be a good way to reach more people. I think the play would lose a lot of its engagement if not watched live. I hope they do get it to Kuwait, and to even more places. I’m proud of their achievement, and impressed by their creativity and passion.

So, to Sulayman, Georgina Van Welie (producer), Sandra Al-Saleh (assistant director), and the great cast and team, thanks! And a special thank-you to Abdulla Al-Awadi who took great care of us! We had an amazing time! I wish you all the very best, and hope to see you again soon.

More info: Royal Shakepeare Company, Al-Bassam Theatre

If this sounded like a promotion for the play, well then perhaps it is. I would love for more people to know about this. I stayed away from stating the substance of the play - waring tribes, and how Richard is helped by the West. I won't, because I want you to experiance it.

They are an amazing cast and team working with material that is original and fresh, so I wish more can witness them in action. Kuwaiti, Arab, or any: this is a play to experiance as a human being. Very current, and provoking.

Look for them.

Pictures (from the programme): Nawaf Al-Ali Photography

self-labeled Rude

So, I've done it again. I disappeared. It’s a thing I do. I wonder why. More than wonder, I thought about it.

It is rude.

Especially, when I discover that someone has asked about me. So, I thought about it, it’s a pattern that I need to control, but still I decided to look up what is rude anyway?

I found this about rude:
1. discourteous or impolite, esp. in a deliberate way: a rude reply.
2. without culture, learning, or refinement: rude, illiterate peasants.
3. rough in manners or behavior; unmannerly; uncouth.
4. rough, harsh, or ungentle: rude hands.
5. roughly wrought, built, or formed; of a crude construction or kind: a rude cottage.
6. not properly or fully developed; raw; unevolved: a rude first stage of development.
7. harsh to the ear: rude sounds.
8. without artistic elegance; of a primitive simplicity: a rude design.
9. violent or tempestuous, as the waves.
10. robust, sturdy, or vigorous: rude strength.
11. approximate or tentative: a rude first calculation of costs.

So, I thought I’d measure myself against those definitions. Was I rude:
1. Not really, it wasn’t immediate, I hid, so there was esp. no reply
2. I hope not – what a vague definition though!
3. Rough? Hmmm. Still not really. Manners? What are those really?
4. Rude hands?? What?
5. No
6. Hmmm
7. No
8. N/A
9. No no. Waves though? Hmmm, interesting
10. Umm, still no, sounds attractive though
11. Oh yeah, no

So, I translated with google what is rude in Arabic: Rude was “وقح”, ouch!

That’s even more harsh!

Funny, how a translation reveals more than a definition.

So, I TRIED to looked up “وقح”. (That is always an adventure!)
ليش معاجمنا العربية صعبة لهالدرجة

I got lost as usual. Witness when I tried to make sense of it. If you can, then please enlighten me. There is beautiful-sounding poetry I’d like to understand better.

Anyway, I gave up, and looked into my used-to-be-trusted pocket edition (yeah right, what pocket is that? Anyway, what kind of any language dictionary would fit in a pocket) المصباح المنير

كتاب الواو ص247
لقيت الصفحة
(الواو مع الباء وما يثلثهماا
بييه! وما يثلثهما!اييي تعال أساس الكلمة

انزين، و ق ح هل هو أساس؟ ليش لا؟ مثل، هو وقح هذا الكتاب
اتصير، ليش لأ

(الواو مع القاف وما يثلثهما! لقيتها
وقح

وقح: حدد لها وقتا ثم قيل لكل شيء محدود موقوت و مُوقت
شنو؟!

(الوقاحة) بالفتح، قلة الحياء. وقد وقُح بالضم وقاحة وقحة بكسر القاف فهو وقِح
ياه! قلة الحياء؟
بس هذا التفسير؟ لان التكملة تتكلم عن الفرس و الشحم. والله! إقراء المعجم.للأسف العربية سوف تنتهي إذا المعاجم ما تتطور!

So, “وقح” didn’t get me anywhere. قلة الحياء is so general, that it’s not worth exploration, so it doesn’t help me.

I’m lost. Was I sort of rude?? قلة الحياء, yes. So what, though?

I think “So, what?” is the root, what is the consequence. So, when is consequence of an action (or inaction in this case) demands a reaction? Perhaps never, but without care and understanding, it gets to be neglect.

If there is expectation, then there is always an obligation to respond.

So, perhaps I wasn’t rude, but I was neglectful [no I will not go through definitions again]. Neglecting things can sometimes be dismissed. The consequences of such neglect are usually rectifiable.

However neglecting communication with someone at any level: parent, sibling, friend, or even an online friend (as dilli once wrote about), is still neglect. Now that I wondered enough, I understand, that it’s not even neglect.

It’s about expectations, which lies comfortably under the banner of respect.

So, to you who asked, or expected a response. This post is for you, as my apology. I ask you to allow me, because I don’t do my hidings out of intent, I hibernate cause I do, but with you in mind, I come out to try to say something that I wish you could like.