SAFE HAVEN

Arcola Theatre

★★½

“There are commendable performances across the cast”

They say those who ignore the past are condemned to repeat it; fortunately ‘Safe Haven’ revisits a recent chapter of history that still resonates today. Though the script doesn’t quite unlock the full force of the material, it’s an undeniably bold playwriting debut.

It’s the early 1990s and Saddam Hussein’s forces threaten the genocide of millions of Kurds. In London, two diplomats and a Kurdish refugee try desperately to convince the British government to intervene. Based on true events, it’s a stark reminder that extraordinary times demand extraordinary courage.

‘Safe Haven’ marks former British diplomat Chris Bowers’ playwriting debut, drawing on deep ties to Kurdistan and a sharp grasp of politics. He shows great wit and insight, using wry, throwaway lines to expose the uncanny irony of certain situations. Yet the script needs significant refinement to reach its full potential. Despite the huge built in stakes, the plot feels underdeveloped and oddly structured, dissipating tension rather than building it. For example, Act 1 wraps before introducing the crucial ‘safe haven’; the Act 1 climax lacks suspense; the will they survive cliffhanger is resolved rather unceremoniously. The characters, too, need fuller development. Though Bowers wisely distils the action into a few key lives – a tried and tested dramatic device – the central figures lack sufficient depth to carry the narrative. Catherine’s struggles – including her experiences of sexism – feel under explored, and the Kurdish siblings simply fade out. This is compounded by rather dense, technical language featuring long stretches of exposition and little ‘showing’ of the story. There are some strong ideas here but they need clearer articulation.

Mark Giesser’s direction offers some striking ideas. Catherine’s opening monologue, delivered straight to the audience, provides an immediate point of connection – though curiously this device isn’t revisited. The sharply divided set – half regimented office, half soil covered outdoors – is an intelligent visual metaphor for the play’s internal divisions. However, the use of space sometimes muddies rather than clarifies. During Najat and Zeyra’s perilous mountain ascent, for example, the actors move into the office area, desk and all, undercutting the scene’s realism. Entries and exits feature rather circuitous routes, when slipping behind the curtains could be a cleaner solution. The blocking, too, could use a little refinement; a few key beats are lost when actors turn their backs to the audience, obscuring crucial reactions.

Jida Akil’s design is one of the production’s real strengths. The split set – half office, half earth – is cleverly conceived, with soil evoking homeland and identity. The layered white curtains, suggesting snow capped mountains and doubling as an elegant projection surface, create striking visuals.

Libby Ward’s video design carries the production fluidly through time and place with cinematic flair. The interplay of images and text smartly echoes the relentless churn of news and bureaucracy, while the sparing use of colour gives some scenes a purposeful lift.
Ali Taie’s sound design is a real asset, its blend of music, ambient detail and sharp effects placing us right at the centre of the action.

Katherine Watt’s costume supervision draws sharp contrasts, setting vibrant Kurdish dress against the starch of Whitehall suits. Though a red scarf for Najat would better align with the text.

There are commendable performances across the cast, though the depth of characterisation varies somewhat, likely in part due to the script. Lisa Zahra offers the most fully realised performances, giving Zeyra a quiet resilience and Anne a warm forthrightness. Beth Burrows brings both determination and vulnerability to Catherine, navigating an impossible situation with clarity. Mazlum Gül makes Al Tikriti suitably sinister while Dlawer is impassioned if less subtly shaded. Stephen Cavanagh adds well judged comic relief as a prickly US General.

Bowers’ bold debut play ‘Safe Haven’ shines a light on a strikingly relevant chapter of history. Though beautifully designed, the script and delivery currently fall shy of fully revealing the human dimension.

SAFE HAVEN

Arcola Theatre

Reviewed on 19th January 2026

by Hannah Bothelton

Photography by Ikin Yum

SAFE HAVEN

★★★★

“the interpretation is a quick-fire and vibrant rendition”

This new take on Shakespeare’s tragedy of race and jealousy comes with quite the twist: the role of Iago is played by three different actors simultaneously. The first question that comes to mind is, why? One has to suppress the faint rising wave of scepticism as the auditorium fills up around us. There is no set whatsoever, and the feeling that this might be some sort of drama exercise is foremost in our minds. It doesn’t take long, however, for this trepidation to be completely eradicated by Sinéad Rushe’s fresh take on the play.

Even without the added theatrical device (which they term polyphonic characterisation), the interpretation is a quick-fire and vibrant rendition. The empty playing space allows us to focus on the performances which are uniformly strong among this small company. With a finely honed physicality and harmony within the cast, no backdrop is needed and, indeed, with the clear-cut pruning of the text no background is needed – such is the clarity and succinctness of the delivery.

The cast are huddled around an acoustic guitar, their own bodies percussion instruments; from which Desdemona (Rose Riley) breaks away and dances unrestrained around the space. An atmospheric opening, but the one (and only) time we do question the dramatic choices.

From the off, Martins Imhangbe is an impressive and imposing Othello. His strong demeanour is quietly controlled, sometimes a touch too soft and vulnerable, before the bemused rage finally breaks through. Riley breaks away from the stereotypical Desdemona, refusing to come across as pure and meek. Instead she is self-possessed but respectful of Othello despite the incomprehensibility of his jealousy, almost to the point of tenderness. Her rendition of the “Willow” song is particularly poignant and beautifully sung. Ryan O’Doherty is a charismatic Cassio, a bit of an enigma, keeping his true feelings under wraps beneath a trusting exterior. Not so Emilia, Iago’s wife, whose distrust and fiery outspoken cynicism is brought to vivid life in Rachel-Leah Hosker’s striking performance.

“This is a show where atmosphere is predominant”

Which brings us to Iago, and the focal point of the production. During the performance, though, the reasoning is immaterial. It ceases to be a question as it works so well dramatically. Michael C. Fox, Orlando James and Jeremy Neumark Jones are all exceptional. Individual, yet merging into one character; they are both a chorus and a trio of separate characters. They become co-conspirators, negotiating among themselves. They surround their victims, sometimes in whispers, sometimes in storms. The effect is often chilling as one man’s voice can be heard echoing in triplicate from three different spaces. Iago no longer addresses the audience, which in turn increases the impact. It is a complex and risky scenario, but in the three actors’ hands it is pulled off to immense effect.

The threatening and menacing atmosphere is sustained throughout by Ali Taie’s percussive and sinister soundscape, along with Alex Lewer’s starkly effective lighting. This is a show where atmosphere is predominant, even though we are invited also to consider the racial and political reasoning behind Rushe’s choice of the three Iago’s. Traditionally Iago draws the audience in and coerces them into being complicit in Othello’s downfall. This is no longer the case. Yes, we are aware of the device but not on an intellectual level. It is a thrillingly innovative approach, but we are so wrapped up in the performances that we forgo analysis in favour of relishing each moment, right up to the tragic and, in this production, quite plaintive ending.

Tag Archives: Ali Taie

SAFE HAVEN

★★½

Arcola Theatre

SAFE HAVEN

Arcola Theatre

★★½

“There are commendable performances across the cast”