Short+Sweet Gala Final

Short+Sweet's Dubai short play festival ended its three weekends of abbreviated theatre in a final face-off and award ceremony today. Unlike the past two runs S+S, in which I made it to almost all qualifying run events and skipped the finals, my February travel plans allowed me time to attend only the gala final.

The cast and director/writer of Treteau

Having not seen any of the qualifying runs this time, I don't know what the final plays were up against in their respective weekends. Each had their strengths, but I found some of them a bit lackluster as a result of specific writing tropes and production choices (e.g. melodramatic effects, plot twists lacking creativity, etc).

There were some indubitably good ones as well. Third Half Theatre's Treteau powered ahead with its tight stage work by an ensemble cast, sweeping up awards for script (tying with The Bronx Budgie, another play with some great lines), directing, and best play overall on both judicial and popular counts. I was also rooting for the other contemporary theatre ensemble play, Starry Little Stories, but it sadly could not make any of the categories. The power of the monologue reigned, however, as best actor and actress awards went very deservedly to Asad Raza in It's All The Rage, and Mina Kici Khattar in La Marie Vison.

Loom Ensemble brings Art Monastery performance to Dubai

Loom Ensemble's Dubai-based cohort returned to the city this month after half a year away, to begin a residency of performance and workshops at thejamjar. The fruits of their Art Monastery residency in Italy during their time away, which they refined over an international tour, premiered at thejamjar this weekend as a contemporary theatre performance they call "Prime".

The central theme of the performance is a relationship that becomes increasingly tempestuous as one of the two characters, played by Neva Cockrell, finds herself unable to relate to her partner, played by Raphael Sacks. The tension and lack of meaningful communication in their relationship is portrayed using an array of visual, verbal, physical and vocal metaphors -- some with more than one dimension of allusion.

The play features beautiful choreography and appropriate pacing, with some particularly interesting motifs expressed through color and clothing. A keen observer will notice a few internal cross-references in the narrative, and see aspects of the broader themes in seemingly mundane actions or words. Much is also added by the tactical lighting and playback sound, which were technically executed very well.

The many questions and interpretations from audience members were addressed during the short discussion session that followed, in which the inspirations and process behind the project were also described.

Horrible Histories Barmy Britain

The Horrible Histories musical comedy theatre show returned to Dubai this weekend with Barmy Britain, a journey through British history. Although it was staged this time in the huge Madinat Theatre, and with more showtime options from which to choose, I nonetheless made a relatively early booking, as the show is immensely popular. I'm not sure how many other adult fans of the TV show were in the audience, as almost everyone else seemed to be accompanying children. Even I was the only one, though, who cares? As a history geek, I could not miss it.

No material from the TV series was used in the hour-long show, as far as I recall from the former, but the two-man cast still had some great sketches scripted and songs composed to bring alive British historical facts and figures, from Boudica to Charles I to Victoria. The HH TV show tradition of contrasting historical contexts with modern culture ad absurdum could be seen in some of the sketches, such as Queen Elizabeth going undercover, and the Dick Turpin story done in the style of a reality TV show. The actors did well for the number of very diverse roles they had to play, pulling quick costume changes between sketches, and delivering a very energetic performance all through.

So while the show was oriented towards a child audience (with a couple of sing-along games and such), I still found most of it engaging at my level, and certainly very educational.

Grassroots Revue Dubai

Dubai community theater The Courtyard Playhouse held another Grassroots Revue event this season to showcase local talent -- a mixed-form potpourri of performances, introducing audiences to arts and artists to which they might not otherwise have been exposed.

A double feature of poetry was on the bill, with Zeina Hashem Beck (left) reading from her new book, To Live in Autumn, and Frank Dullaghan reading his series of poignant poems about a missing child incident.

Comedy also took center-stage, with well-received performances from the likes of Luke Haecker (top left) and Sameer Abdul Rehman (top right), and local improv troupe Improv Anonymous (bottom) playing short-form scenes and games (including attempts at musical improv) across two slots.

Musicians galore too, as the programme was peppered with four acoustic guitar instrumental or singing performances -- including classical guitarist Valentin Spasov and David Beats Goliath frontman George Driscoll -- and closed on a violin note.

Blazing a theatrical trail with Draupadi

In case anyone was wondering about the week of social AWOL that preceded it, I had been immersed in this year's big theatre project: Draupadi - The Voice of Dignity. Indeed the largest production in which I have ever been involved, it was also the furthest away from my general idea of the kind of theatre in which I would be involved: music, dance, physical theatre, body paint, bodysuits, etc. Having not been an audience member myself, I can only comment on the experience of being stage-side.

Firstly, it was a huge privilege performing at the capacious and opulent Madinat Theatre. These seats would soon be packed through, and the Indian Consul General would attend one of our shows. The second show's audience was more audibly responsive than that of the first show, but I gathered that both proffered favorable reviews.

Us statues with designer and graphic artist Nivi Saha

Our makeup artists and costume designers/tailors did a fantastic job with the body paint, body suits and costumes. Especially with stage lighting, I was taken aback at just how convincing my fellow statues appeared.

(photo credit: Sarah Arfan Photgraphy)

Having to be on stage about 90% of the time, we spent most of the time on the yajna platform in stillness (but changing poses from time to time), occasionally breaking off or coordinating to act out short background scenes or be human props. Given the diversity in backgrounds and physiques of the statues, it must have been interesting to watch how each of us executed our parts (being fairly well-versed in the Mahabharata, I integrated imagery from the ongoing story into my free poses)

Classical Indian dance

(photo credit: Sarah Arfan Photgraphy)

(photo credit: Sarah Arfan Photgraphy)

The play told the story of Draupadi using both dialogue and dance theatre, focusing on her birth, her betrothal contest and marriage to all five Pandava brothers, her humiliation in the Kaurava court, and the death of her sons, the Upapandavas, in the legendary India-wide Mahabharata war. It was illustrated with spellbinding classical Indian and contemporary dance by local troupes, Tapasya and Loom Ensemble, as well as Third Half Theatre's staging of segments of a philosophical discussion between a modern-day Krishna and Krishnaa (one of Draupadi's epithets).

Although I was disappointed that the classical dancers did not wear more traditional costumes, it was a worthy sacrifice in the cause of quick costume changes, which were required in order to play different roles in different scenes. I was impressed by how, despite having to perform complex, coordinated dance sequences, the classical dancers also did a great job with acting. The show culminated in a wonderful final scene of both sets of actors/dancers performing onstage together as the ancient and modern pairing of Krishna and Draupadi.

(photo credit: Sarah Arfan Photgraphy)

And not in the least, the delightful classical/modern fusion music and singing by the Malhaar Choir, combined with Nivi Saha's glorious graphical artworks of scenes and motifs from the epic, gave a thoroughly inspiring sound and look to the production. It was hard to stay still with such great music playing right next to me, and to not move my head to watch the audio-visuals and dance. I am just so proud and honored to have been trusted with a role in this ginormous endeavor.

Draupadi: A fiery woman in a crowded theater

Being offered a part in this project came as a bit of a surprise. But knowing that Draupadi - The Voice of Dignity involved the Malhaar Choir, Loom Ensemble, and Third Half Theatre, it was not hard to say "yes". It also helped that I was several weeks into a Mahabharata mythos geek trip.

Although I, as a cast member, repeatedly witness their performances, the choir has me rapt each time we do a run-through. The instrumental array features Indian classical music instruments together with electric guitar, synth keyboard and cajon, producing hypnotic music that straddles West and East. The singing is rousing and spellbinding (a couple have become the earworms of the month), and the dancers make their well-practiced skill seem almost effortless in mesmerizing choreography; listening to the choir and watching the dance makes the countless hours of rehearsal feel not as long.

Thanks to Third Half Theatre and Loom Ensemble, these song, music and dance segments are interspersed and framed with an English-scripted philosophical/magical story that references the epic, along with contemporary dance and physical theatre.

As for my role, I don't want to give away details, except that watching fidgety me hold still for minutes at a time is in itself a spectacle. I have never done anything in this particular style of theatre, but we have a supportive and enthusiastic team. Therefore, I have high expectations of a grand performance, especially extrapolating what I have glimpsed of the production aspects.

The play stages on May 23rd/Fri and 24th/Sat, 7:30pm, at Madinat Theatre. There are a few tickets still on sale, and they can be purchased at timeouttickets.com or at the Madinat Theatre's offline box office.

Star TOO prototypes Why Cross

This year, local experimental theatre troupe Star TOO is extending experimentation to the development process, staging a preview run of its latest production, Why Cross, aiming to invite and discuss feedback from audience members.

The shows were staged in a warehouse in Al Quoz, within a "majlis" of fabric hung from scaffolding -- a setup reminiscent of that used by Theater Mitu in Odyssey last year -- with audience members seated around the corners.

The play began with a little build-an-object game involving audience members. A series of scenes ensued, each framed in different mythological, historical and contemporary contexts, to address different aspects of the character of Lilith, the original rebel.

The actors used a number of interesting techniques of motion and blocking in this play; memorable instances included the tree, the painting/un-painting (left), and Socrates' trial (right). It was also an audio-visually spectacular experience, thanks to good use of sound and projection, and especially the brilliant implementation and manipulation of lighting.

After the curtain call and awards, we sat ourselves in a circle outside for a not-so-little feedback session.

Mime and dance in Mirror for the Soul

It's been a week of theatrical discoveries: first, Raw Theatre, and now, Alterum Theatre. Alterum seems to be of Russian origin, and primarily focused on dance, which they performed as a philosophical drama. Instead of what usually comes to mind when one hears of a Russian dance performance, though, this was a thoroughly contemporary show, comprised of mime, physical theatre, and brilliantly-choreographed, expertly-timed dance sequences derived from street/BBoy styles. In terms of design, it was also visually a huge treat all around, and I loved the steampunk masks and mime makeup, as well as the vintage costumes.

Raw Theatre presents Billy Bishop Goes to War

Relatively new-in-town theatre group, Raw, staged the musical "one man play", Billy Bishop Goes to War, this weekend at The Fridge. I absolutely loved it: great acting, great production, and great music.

The two acts of the play add up to about one and a half hours, during which seasoned British stage actor, James Gaddas, plays a Canadian air force veteran, the titular Billy Bishop, who narrates the story of how he came to be a star fighter pilot in World War I. This story is spellbinding, with many moments of poignancy and hilarity, told with poetic lucidity and detail. It was a time when air combat was still very new, so it's also a nice little historical trip into the golden age of this dimension of warfare.

Gaddas as Billy Bishop did a convincing Canadian accent, and jumped in and out of several roles -- across ages and genders, including voice and mannerisms -- without missing a beat. The pianist supporting him also did a great job supplying timely background music and sound effects, as well as singing in support. The music was very era-appropriate, and Gaddas' singing (including while playing other roles) was excellent. The minimal set and warm lighting were perfect too.

Backstage passes Exam

I watched the matinee show of Backstage's theatrical version of the film Exam today. The play, directed by Ahmed Rabieh, is cast in the mold of Cube and such, with a therefore somewhat predictable ending for those acquainted with this genre. Even so, there are plenty of twists throughout to keep the audience interested, starting from mere minutes into the play. One thing I liked about the writing is the world in which the play is set, which is gradually revealed later in the play, to much impact.

The character's archetypes and motivations, and the nature of the test are also slowly unraveled throughout. The acting quality and flow improved as the play picked up momentum; Amod Munga and Meera Almidfa were especially impressive. Costumes, set and props were good, and the play was executed commendably for all its technical demands.

The Yum Yum Room

Filip Ranebo; Laura Quirke; Bryan Mackenie

Despite my weekend schedule being filled with science, I managed to make it to the last show of The Yum Yum Room, staged at the Courtyard Playhouse. The coming-of-age play, written by Stephen House and directed by Sarah Dufayard, is set in a town in the playwright's home country of Australia, and touches upon subjects such as bullying, teen rebellion, growing up, and social stigma.

Filip Ranebo; Sol Abiad

The story is kind of open-ended; I'm guessing the titular room itself is a metaphor for escaping within when faced with the real world. Filip Ranebo plays the angst-ridden main character, Tom, who is portrayed as retaining a childish demeanor into adolescence. Major plot elements are his tempestuous relationship with his father, played by Bryan Mackenzie, ridicule from his peer group, and a naive fling with a schoolmate, played by Laura Quirke. Tom deals with these issues with the help of an elderly confidante, Mrs Mac, who is played extremely well by Sol Abiad with an age makeover. 

A peer review of the first Dubai Science Festival

First heard of as an idea whispered about during a Cafe Sci Dubai session last year, Dubai's first grassroots public science festival snowballed into a months-long endeavor that culminated this weekend in a pan-cultural four-day celebration of science for all. The festival, organized by the people behind Cafe Sci Dubai, included not just presentations and screenings, but dance, music, and poetry too, proving that science is not just a subject, but a culture as well.

(clockwise from top left) Rohan Roberts; Steven Pinker; Raya Bidshahri; Lara Matossian

The opening event, themed "Critical Wonder" was held at the Meydan Theatre, a main sponsor of the event with GEMS Education, and the venue for the remainder of the festival. It consisted of a sequence of short fact-, paradox-, trivia-, prediction-, and motivation-filled talks introducing various scientific/futurist topics, such as the exponential growth of knowledge and technology, astronomy and cosmology, disruptive technologies, and the human brain.

The speakers included festival director Rohan Roberts, lead coordinator Lara Matossian, youth coordinator Raya Bidshahri, and numerous student presenters (if even 10% of the gender ratio survived into professional life, we may not have a STEM gender imbalance in the next generation). My personal favorite talks were those of Bahar Ferdousi on brain malfunctions, and Sasha Nanda on the Hubble space telescope, commendable for their specificity and substance. Recorded shout-outs to the festival from the likes of Steven Pinker and David Deutsch were also played.

(clockwise from top left) Chris Hadfield; Stacy Locquiao; Monu Singh; Upslide

A night of music followed, made possible by the participation of numerous local acts like When Night Comes, Stacy Locquiao, Monu Singh, Candy Flippers and Upslide, performing songs referencing rocketry, comets, and other sci/tech concepts in a variety of musical genres. Intervals had us entertained with viral science music videos, such as Chris Hadfield's famous orbital rendition of "Space Oddity", Tim Minchin's statistically-correct love song "If I Didn't Have You", A Capella Science's "Bohemian Gravity", and Symphony of Science's auto-tuned opus "The Quantum World".

I had not been to a planetarium since over a decade ago. The inflatable mobile planetarium is not as awe-inspiring as the real deal, but it's a fun experience nonetheless. Besides, the show was about the historical development of astronomy, so it aligned quite nicely with my interests.

Out in the lobbies, relevant companies were promoting their services, students were demonstrating science projects, and a huge gallery was set up to exhibit local and international science-related paintings, graphics and photography. I even spotted a neighborhood attraction: the Moving Image Museum.

I also attended a local science enthusiasts' panel discussion, hosted by 103.8 FM presenter Suzanne Radford, during which science media pioneer Dr Majid al Qassimi, tech entrepreneur Mahmoud Abu Wardeh and science enthusiast Adam Griffin discussed local and global issues in scientific advancement and awareness, together with Rohan and Raya.

One of the surprise highlights of the event was the screening of Hubble 3D. I was only able to attend because of a change in the programme, but was happy to discover that Hubble 3D is a mind-blowing show, especially when viewed in the gigantic IMAX theatre.

The festival then took a cultural turn, starting with models in presumably futuristic makeup strutting a catwalk, professionally choreographed and wearing Imaginary Foundation clothing.

A series of dances from different cultures around the world followed, interspersed with (much to my delight) Dance Your PhD clips.

(clockwise from top left) Ana Rancic; Toby Masson; Taher Kathwala; Jason Silva

"Science is the poetry of reality" is a quote by one "Clinton R D", who joined Aldous Huxley, Tim Minchin, and other authors honored with in-character, prop-aided recitations (performances, rather). Jason Silva's science-passionate odes popped up from time to time too. Toby Masson's character performance of Minchin's viral skeptic classic "Storm" and Jamal Iqbal's performance of his original "When Hadrons Collide" were especially outstanding, in my opinion, as was Taher Kathawala's amazing slam performance of Steve Sanders' "Sky".

The programme ended with the staging of Lauren Gunderson's Leap, in which Ben Franklin shone as a young Isaac Newton meeting his muses for the first time.

In the closing ceremony, the people who saw the festival through to that moment were honored, including the commendable army of volunteers. I already can't wait for the next one; this festival was executed very well for a first-time experiment, and application of the scientific method will surely result in an even better one next year.

A Short+Sweet showcase of Dubai theatrical talent

Heart in the Ground, one of those plays with excellent acting

Dubai's thespians answered the call of the second Short+Sweet Dubai short play festival with a response that required an extra week to accommodate this year. Some of the best of our city's growing theatre scene, as well as a fresh pool of talented actors, writers and directors, made it to the three-week festival, entertaining audiences with 10-minute-or-less plays that ranged from the cringe-worthy (overuse of sound and light effects, gaggy and/or shouty acting, loitering pace, preachy dialogue, predictable plot) to the glorious (the opposite of the aforementioned).

The Romeo and Juliet spoof

I had to miss the Top 30 Week 2 plays because of an improv show of my own, but I was able to see almost everything else. Many fellow improv actors were involved onstage or backstage, though, and the popular vote eventually went to a Romeo and Juliet spoof put together by some of them. Among the theatre groups that presented their plays during the festival, I felt that Third Half Theatre pushed through the most consistently impressive performance with their stagings of Badke Bhaiya, The Man Who Was Music, and It's All Been Done Before, followed closely by American School of Dubai's A Charming Affair and Controlling Interest. Backstage's Last Drinks and Theatrics' Noreen were also among the better plays over the three weeks.

Alice and the Tightrope Walker, by Loom Ensemble

Experimental theatre got a significantly higher representation this year, with three entries by Loom Ensemble and one by Resuscitation Theatre. Another technique that reached new heights this year was the monologue, George Mitton's Farewell, Francis standing out among them. And a special note for good writing by a locally-based author should be added for Frank Dullaghan's clever penning of DNA.

A Valentine special Maestro improv

An ominous-looking Highlander-styled poster announced the first Maestro improv games in the Middle East and Africa this weekend at Courtyard Playhouse. Competing with Valentine's Day, two music festivals, and a short play festival, and with an entry charge for the first time, our improv group still managed to pack the venue to capacity on both nights.

Despite the risk of being booted out early, playing Maestro brought with it the opportunity to perform in more diverse combinations than in Theatresports. It was our first time performing in public with this format, so it was not quite technically perfected yet --- we literally had hearts dropping at one point.

The Valentine's Day timing also made it into many scene themes, including one in which improvisers acted out an audience couple's account of their relationship history. Congratulations to Salman and Eric for winning the Maestro title (and the grand prize of AED 5) on the 13th and 14th, respectively.

Looming large in Dubai theatre

Visiting Loom Ensemble members Sasha Bogdanowitsch and Michael Bauer joined their now Dubai-based fellow members Raphael Sacks and Neva Cockrell at thejamjar, staging their experimental play Say I Am You for the first time here. While the Dubai-based members have been running workshops and short public performances at the same venue for some time now, this marks their debut feature play in the UAE, and is a testament to the potential of online collaboration in theatre production.

We have had plays in the genre in Dubai and Abu Dhabi, including ones featuring dance, but the ensemble brought in something fresh with laudable integration of excellent synchronized singing, and live music performance by actors who often made use of unconventional instruments like panpipes.

Multiple stories taking place in different times and places took turns onstage as they interwove on approach to a shared conclusion. Some of the cast play roles in different stories, so there had to be a lot of quick costume changes. I think the play's greatest strength is the colorful and well-written characters, along with some memorable bits of dialogue for those paying close attention. Michael's performance was especially commendable. I also liked the light use of props (which included visual projection, symbolic objects and found objects), and the use of lighting. A new semi-stepped seating arrangement greatly helped with the visibility of lower parts of stage space. After the show, the Q&A session with the cast and director answered many of our burning questions.

A couple of days later, performing as the Loom Vocal Trio at The Fridge's Fridge Concert Series, Sasha and Raphael sang together with Kate Hamilton, who also directed Say I Am You, and is herself a rather talented singer. Much of the music that night was composed by Sasha too, with cryptic and elemental lyrics sung in forms somewhere between monastic chanting and communal tribal song. Some of the instruments from the play were used in this concert, including a jaw harp in a mesmerizing solo by Sasha.

DDG stages Rosencrantz and Guildenstern Are Dead

Dubai Drama Group's latest Shakespearean venture looks at Hamlet from a different perspective, in the comedy Rosencratz and Guildenstern are Dead. The play, staged at DUCTAC, features much philosophical musing on fate and luck, making humorous references to the minor roles, disposability, and near-anonymity of the titular characters.

Toby Masson and Ciaran Mulhern have great chemistry as the reluctantly duplicitous duo, Rosencratz and Guildenstern, respectively (or vice versa), bumbling their way about the Hamlet universe while the more well-known dramatic events take place around them, and pondering what it all means.

Some of my favorite moments in the play were those featuring Eric Dury as the head tragedian --- a character to which he is very suited. The play is also commendable for the attention paid to detail in production, most evidently in the costumes.

Irish play Dancing at Lughnasa at DUCTAC

I had myself a little Irish theatre experience over the weekend with Dancing at Lughnasa, the debut production of a group that calls itself "Danu". The play itself, however, has a long history, and was even made into a feature film. About two hours in length, it was staged in one of the better-done sets I've seen at DUCTAC's Kilachand.

Set in inter-bellum coastal Ireland, in a small town, it centers on the relationships of and among five female characters, each written as a different archetype. Conflict between between social norms and personal fulfillment is one of the primary themes, along with insecurity and independence. The cast playing them do a good overall job of bringing to life women who are both strong and vulnerable. I thought Dererca Lynch and Aileen Kelly were particularly outstanding as Christina and Maggie Mundy, respectively.

Among the male characters, my favorite was Father Jack, and not just for the creative writing. Hats off to Paul McMahon for a great performance.

Lee Blessing's A Walk in the Woods at DUCTAC

The Indian adaptation of Lee Blessing's A Walk in the Woods returned to Dubai barely nine months after its last appearance in the city, and once again, for a single show night.

Leaving aside the half hour of technical difficulties delaying showtime, and the really annoying prolonged spiel before and after, the play itself was a perfect theatrical experience. Set in the context of contemporary Indo-Pakistani image games instead of the original Soviet-American Cold War, it follows the development of the "frenemy" relationship between two peace negotiators of different ages, cultures and career positions.

Sole cast members Naseeruddin Shah and Rajit Kapur have an excellent onstage chemistry and comedic timing, and play the endearing quirks of both characters to perfection. The execution of the play, directed by actor Ratna Pathak-Shah in her directorial debut, makes for a great study in body language and voice characterization. If the original version of the play were staged here here with as good a cast and crew, I would definitely attend.

Backstage short play night at Cartoon Art Gallery

Backstage's weekend of short plays at Cartoon Art Gallery began tonight with two Alex Broun minis and one hour-long by Woody Allen. There were some good scripts to look forward to, so I had high hopes.

Alas, the first play, Exiting, came out quite obviously jinxed. There was often insufficient -- and sometimes, even incoherent -- projection of dialogue, especially at the beginning, and especially from the slimmer of the two actors (who also seemed to wear a permanent smirk, regardless of what was going on with his character). His costar did a much better job with his character, saving the play somewhat. Of course, little could be done by the actors about the fact that both twists were pretty much given away in the program. The second play, Selling Johnny Depp, turned out a bit better, although the actors, especially the male ones, could really have done much more in terms of emoting.

Death

Death

The post-interval Woody Allen play, Death, was a refreshing breath of good theatre, though. With effort put into ensuring visibly good production value, and generally good acting and directing, it was about as entertaining as a play with that script should be. Apart from one instance of thick accent obscuring lines (especially given the acoustics at the venue) and a few fumbles, the delivery was good all around. My only recommendation: I would have preferred more Woody-esque deadpan from the lead character, rather than near-constant wide-eyed shock. Overall, Backstage pulled off a good job with this one; I wish the preceding ones were done as well.