The predominant take-away that many of us can muster from any kind of conflict is that those instigating them rarely learn the harsh lessons bestowed on us from history. The chaos of those, such as what is currently happening in Gaza, is expressed and echoed impressively in this new piece by Khalid Abdalla, who shares with the audiences both his own experiences and those of his immediate ancestors, regarding the toxic remnants that manifest themselves on people of certain ethnic groups due to mass fear and ignorance.
Abdalla, himself a descendent of political disputants of varying backgrounds, is always an effervescent presence, displaying terrific charisma and strength of character given the nature of the subject matter being discussed. Abdalla provides a deep dive into the real life impact of the violence and genocide in Gaza among other forms of ethnic demonisation, whilst simultaneously weaving in a story of a close personal friend’s battle with cancer. It feels tumultuous at times, especially considering the mix of different media utilised to express the piece (including photography, video, art and interpretive dance), however, such is the nature of war and genocide, that one has to conclude this is an artistic choice, which is really rather brilliant.
What sets this piece of theatre apart is the way it challenges us, the audience, not only in how it elicits such a strong psychological response, and its notion of different interpretations of what “Nowhere” means to different people and groups, but in the active participation during which we are asked about our own backgrounds, experiences and opinions. Is a sense of belonging something we are all collectively owed by right, or does it come from our own individual perception of the notion?
There are hints of humour interspersed to provide moments of respite, for example when Abdalla begins switching up his various accents, displaying both his acting abilities and his unashamedly multicultural upbringing, almost feeling like he’s giving us a range of different characters, however, with each sincerely and authentically feeling like him. The connection he creates with the audience, and how he has us on his side, makes the apotheosis of the work the more shocking and deeply affecting, as we behold a video of a growing array of young children’s clothing, laid out end to end on a long stretch beach, representing those murdered during Israel’s offensive on the Gaza Strip since October 2023.
This is more than just a monologue or piece of one-man theatre, it directly confronts difficult topics, challenges us as an audience to a profound degree, and makes us question our role in society. Even though our own sense nowhere is safe, there are a worryingly large number of those out there for whom, literally, nowhere is safe!
⭐️⭐️⭐️⭐️ (4*)
Gifted tickets in return for an honest review | photography by Tristram Kenton and Helen Murray
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