We first see protagonist Salim
handcuffed to the furniture. This could be military detention,
sectarian abduction… in fact, we realise after a few seconds, it is a
sex game with his posh new British lover, and he is manacled to the
headboard of their bed. It is the first of several novel, though
modest, subversions of our expectations. Over the next 80-odd minutes
we come to realise why, by the end, such handcuffing has become a
matter of some necessity. The scenes in Rashid Razaq’s adaptation jump
non-chronologically between 2006 and 2011 (the final moments are set in
2009), offering a portrait of an Iraqi Everyman forced by domestic
tensions following Gulf War II to flee and finding asylum in Britain,
where he adopts the alias Carlos Fuentes in order to try to escape
stereotypes of Arabism. But he cannot escape his own memories. To judge
from its stage version, Hassan Blasim’s short story is a matter not of
pretended insight but rather of intensely sympathetic observation.
Nicolas Kent’s nearly three decades at the helm of the Tricycle Theatre
were marked by a number of productions that showed a political and
moral directness, neither chin-strokingly abstruse nor
agitprop-strident. His first London stage production since leaving the
Trike is driven by the same spirit of straightforward engagement. Nabil
Elouahabi as Salim/Carlos, Caroline Langrishe as lover (and later
second wife) Lydia and a brace of supporting players are consistently
in the moment, whether bantering in a London restaurant or sweeping up
in the aftermath of a Baghdad bombing. But more and more ineluctably,
the point is made that Carlos inhabits two moments at once, as the
shades of his now-dead first family both try to reclaim him and
simultaneously disavow him: Carlos, they argue tormentingly, can have
no part in Salim’s history. If the troops we were so keen to pull out
can suffer such severe post-traumatic stress, what about the ordinary
civilian inhabitants with no alternative? The production is not
perfect: the Carlos/Salim identity crisis could perhaps be more
explicitly expressed; conversely, the use of scene-change videos of
Bush, Blair and their successors comes close to attitudinising. But
overall this is an unpresumptuous, unpretentious and above all a deeply
sensitive piece of work; Thursday evening performances are followed by
panel discussions on related topics.
Written for the Financial
Times.