Jessica Harris is at Birmingham Rep to see a haunting tale of Afghan politics.
There’s a lot of plot to get through in this stage adaptation of Khaled Hosseini’s novel. There is the story of Afghanistan in the second half of the 20th Century, and of the chaos endured by the country as a result of forces both internal and external. And there is the tale of two women caught up in the oppression and brutality this leads to, and of how they find resilience in the face of appalling adversity.
And it is storytelling that is the production’s great strength, engaging the audience at every step of the way. The narrative follows the lives of Mariam and Laila. As well as being twenty years apart in age, they have other differences. Laila is educated, whilst Mariam is of uneducated village stock. Yet, both find themselves with no choice but to get married when they are just 15 to Rasheed, a man very much older than either. A person with fundamentalist beliefs, Rasheed turns to abuse and violence to express his disappointment in each of them when they do not provide him with a son. In the case of Laila, whose marriage took place in the 1990s, his cruelty is given licence by the new Taliban regime.
Initially, Mariam, feeling supplanted as Rasheed’s first wife, is antagonistic towards Laila. However, as they realise what they have in common, the bond between them grows. And what they have in common, above all else, is the experience of a society in which women know violence on a regular basis. A society that demands that women are supported and controlled by men. A society which does not allow women to go to work to earn a living, let alone become educated, let alone be given pain relief during child-birth.
The drama of the piece is handled well. Laila’s story is told first. As Mariam watches on guardedly, we wait to hear her story, and we wait to understand why she feels so vulnerable. Moments of tension are contrasted with moments of poignancy. Instances of physical and psychological violence are juxtaposed with instances of warmth and humour. The piece has the ability to shock but, ultimately, it offers hope. It is a hope which comes from friendship and love, and from the refusal of these women to accept their lot.
The set for the production is simply stunning, with something of an immersive quality about it. Stage floor and sides are painted in rich red patterns of Afghan rugs. Lighting creates intimate spaces within and occasional silhouettes are used to illustrate the story. The appearance in the second act of a scaffolding-type structure brings a harsher feel, although the intention of the structure is left unclear.
A soundtrack of female vocals adds to mood and intent. Laila’s wedding is accompanied by music with a melancholy tone, whilst the background of war is conveyed through sound effects and lighting.
With a first act of 1 hour 10 minutes and the second just a little shorter, it’s a lengthy and at times harrowing production. But it grips from start to finish. A Thousand Splendid Suns tells the political through the personal viewpoint, and in this adaptation this really works.
Mariam was played by Rina Fatania, and Laila by Kerena Jagpal. Rasheed was played by Jonas Khan and Tariq by Jonny Khan. A Thousand Splendid Suns was directed by Roxana Silbert. The stage play was written by Ursula Rani Sarma. Set and costumes were designed by Simon Kenny and lighting was designed by Matt Haskins. It is based on the novel by Khaled Hosseini of the same name.
A Thousand Splendid Suns is on at the Rep until 3rd May with an age guidance of 14+. Further information can be found here.
Pics – Ellie Kurttz
