Tuesday 13th May, 2008
The Arab and the Jew – a topical masterpiece it seems
Issue #1395 [Feb 8th 2008]
The Arab and the Jew: I was steeling myself for a very meaningful, political play, heaving with messages and historical references. On closer inspection, the promise of “a riot of sound, image and movement” promised an evening of more experimental theatre, but leaden with a political agenda nonetheless.
And so I went along to the Lyric Theatre, Hammersmith, with the Arab Soc to see this riot. For those of you unfamiliar with the Arab Soc, it seeks to amalgamate the myriad of cultures and traditions present and thriving within the vast Arab-speaking world, and to share and experience these among Imperial students. Spanning over 23 countries, one can imagine the diversity of what the community has to offer.
From the moment that an Arab and a Jew come falling from the sky, landing in what seems to be the desert (actually a very convincing and inviting looking sandbox), the play is a trip down the rabbit hole in terms of logic and imagination. The logician within me tried to assign some storyline to the play as it progressed, and failed. Just when you think you may have deciphered one of the many mad scenes in the performance, off it hurtles once more on a tangent you would never have thought possible.
The title Arab and Jew are Allel Nedjari and Amit Lahav, which make up Gecko. The Arab and the Jew sets about to celebrate their brotherhood and laugh and cry at their own reflections.
But on what? Those who care not for current affairs, history or common sense might not be aware that in 1948 an arbitrary border was created, dividing Palestine in half thus creating the state of Israel. This was following a huge surge in Jewish Immigration to Palestine on account of the National Socialism threatening Germany. Needless to say, the people of Palestine – the Arabs – did not take too kindly to this, and it remains a source of conflict.
This really is experimental theatre at its best. However, I am reluctant to call it that, as “experimental” may suggest insubstantial and slightly pointless: being different for difference’s sake, though thoroughly enjoyable and effective it may be. The Arab and the Jew has substance and it is in no way pointless. It offers so much originality, not only in subject matter but in presentation as well.
Nedjari and Lahav compliment each other perfectly and the whole play runs seamlessly as a result. Their synchronicity and co-ordination with props, sound and each other makes for a stunning performance.
The use of such a small stage was impressive and the atmosphere created beautifully with the help of lighting and music, both Arabic and Jewish. One highlight was the slapstick-inspired “comedy show” which adds a whole lot of humour without adding tackiness or detracting in the slightest from either the talent of the two actors or the theme of the play. Which is still an ambiguous matter!
My total confusion throughout must be down to my miniscule knowledge and understanding of this political situation, or so I thought. However, upon leaving the play slightly dumbfounded, I came to realise this was the general feeling of the audience as a whole. I had at least grasped, and was proud of the fact, that the men’s quarrel over an orange was symbolic of the quarrel over the land! Another possible explanation for the dusty and disheveled doll is the fact that children are often forgotten during such conflicts.
Regardless of how much you know about politics or history, this play is a joy to watch and provides both hilarity and thought provoking entertainment.
The Arab and the Jew is on until 9th February at the Studio, Lyric Theatre, Hammersmith. Tickets can be booked from www.lyric.co.uk.
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