Hanna Khogali Archives - thespyinthestalls.com

★★★★★

“a magnificent tale of what it is to be human”

Antigone [On Strike] is a most intriguing, interactive show where you get to vote by responding to questions related to the show and its subject matter, like a creative poll full of suspense and challenging arguments. Through a series of student workshops in East London, writer and director Alexander Raptotasios brings us a tragic story of two Muslim sisters that have been treated with prejudice and hate, indicating how human rights are so delicate and often overlooked for the ‘sake of the collective’s safety’.

A 14-year- old girl, Esmeh, left the UK to become part of the Islamic State in Syria. She now finds herself in a refugee camp, her UK citizenship revoked, her appeal to return to the UK rejected and with her baby seriously ill. She and her sister Antiya, who’s back in London, are desperate to bring her home, but no one listens or cares to help. So Antiya decides to go on a hunger strike, hoping to set things in motion and create change before it’s too late for Esmeh and her child.

The structure of the play mixes TV debates, news updates, social media posts and live streams, video calls (video content created by Vittoria Belli), personal interactions and public ones to create a piece that is electric. The similarities to Sophocle’s Antigone are there, a sibling that’s rejected by society, a powerful but insensitive leader, conflict between personal opinion and government rules to name a few, but they merely elevate a production that is more than capable to stand on its own two feet.

Spectacular acting from all the actors, who bring to flesh real people with complex intentions and different views. There is significant resonance in the father-son relationship between Home Secretary Creighton, played by Phil Cheadle, and Eammon, played by Ali Hadji-Heshmati, who disagrees with his father’s way of handling Esmeh’s case and decides to stay true to his own convictions, even if that means going against his father publicly. Esmeh, played by Hannah Khogali, doesn’t appear onstage, but we do see her on video, giving her own side of the story in a fragmentary way, a right that was taken away from her throughout her whole case. Sorcha Brooks is a wonderful host, talking to the audience, commenting on the answers we give and moving the plot forward. And the final speech of Antiya’s, played by Hiba Medina, about sacrifice and social change brings goosebumps by creating a shared moment of social consciousness and accountability.

Marco Turcich’s set comprises of a commanding white rectangular stage with an ancient Greek aesthetic, separating the auditorium into two sections, with audience on both sides. The actors walk around, jump and stand in different places, creating a balanced visual playfulness.

Anyone who’s even remotely compassionate about their fellow humans and interested in unpacking political and humanitarian issues, and that should be all of us, must watch this show. This production points out how important it is to be part of the conversation, through a magnificent tale of what it is to be human, especially during a time that the media play such a big role in every aspect of our lives.

Brief Encounter

The Watermill Theatre

Reviewed – 18th October 2021

★★★

“The music and Anjali Mehra’s choreography are indeed highlights”

“That’s how it all began. Just by me getting a little piece of grit in me eye”. So often in life it is one of these small, simple twists of fate that change the course of a life. Laura, a respectable middle-class woman in an affectionate but rather dull marriage takes a shopping trip to a nearby town by train every Thursday. On the same day, Alec Harvey, a general practitioner works at the local hospital. They become acquainted in the refreshment room of the railway station after Alec removes a piece of dust that Laura has in her eye. Although both are quite content in their marriages, they fall in love and embark on a ‘brief’, passionate affair. They also embark on the rocky road of love, guilt, and self-examination.

Officially titled ‘Noël Coward’s Brief Encounter’, Emma Rice’s name is featured in as large a font as Coward’s on the programme. It is perfectly justified as her stage adaptation is now almost as recognisable as Coward’s film adaptation in 1945 (based on his original one act play “Still Life”). Here, Robert Kirby’s quirky and intimate production has all the Riceisms dutifully bouncing around the stage, showering magic onto a fairly dated love story. All competent musicians and singers, the cast almost give the impression that they have wandered in from the wild shores of Cornwall and an early ‘Kneehigh’ combo. I say ‘almost’. With a couple of exceptions, this troupe sometimes appear to be a bit out of their depth with the demands of the material and they need a couple more weeks to grow into the roles. For now, though, we are too aware of their concentration on getting the words, actions, and the stylistic staging right. Once they relax into the skins of the characters, the emotional impact will have the space to break through.

Laura Lake Adebisi, as Laura, is probably the guiltiest of this and therefore doesn’t quite grab the sympathy of the audience. Callum McIntyre’s more layered Alec gives her plenty to play with, but we don’t really witness the chemistry needed that would make these seemingly above-board characters decide to delve into the depths of deception. It is the peripheral characters that come across more fully formed. They burst with energy, circling the central pair, and filling the tea bar with colour. Kate Milner-Evans as Myrtle, holds forth with a commanding performance, occasionally breaking into song with a quite outstanding voice. Hanna Khogali is a bubble of quirky energy juggling her multiple roles while deftly handling her violin and guitar. Max Gallagher gives a standout performance, again switching between roles and providing the most real and memorable moments of the show; particularly as the camp Stephen, whose flat the lovers borrow one afternoon. Gallagher captures some of the hidden tones of Coward’s original text in just a few short moments of nuanced delivery.

The music and Anjali Mehra’s choreography are indeed highlights. The two are intertwined as the actor musicians dance to the tunes, relaying their instruments back and forth. We bask in a gorgeous mix of Rachmaninoff, Noël Coward and original music from composer and Musical Director, Eamonn O’Dwyer. O’Dwyer’s closing number ‘Always’ is a haunting moment. These are the moments that linger after we leave the auditorium. This staging of ‘Brief Encounter’ is stylistic, atmospheric and a feast for the senses, but there is a detachment, and the emotional encounters are all too brief.

ANTIGONE [ON STRIKE]

Park Theatre

★★★★★

“a magnificent tale of what it is to be human”

ANTIGONE [ON STRIKE]

Park Theatre

Reviewed on 3rd February 2025

by Stephanie Christodoulidou

Photography by Nir Segal

Previously reviewed at this venue:

ANTIGONE

ANTIGONE

ANTIGONE

The Watermill Theatre

Reviewed – 18th October 2021

★★★

“The music and Anjali Mehra’s choreography are indeed highlights”

Reviewed by Jonathan Evans

Photography by Pamela Raith

Brief Encounter

The Watermill Theatre until 13th November

Other shows reviewed this month: