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An outstanding performance of a funny yet sophisticated script, takes us on a fascinating journey of enlightenment. Summary
Rating
Excellent
Yasser (Azan Ahmed) is a bit of a loser. He’s got an obsession with TikTok, dreams of chunky chips and, most unfortunate of all, wears Crocs with socks. The last thing you’d expect from him is to spend ten nights in solitary religious devotion and fasting at the mosque, but in an endeavour to prove himself to his dad, and in memory of his deceased friend, Aftab, he reluctantly commits to it. This is the Itikaf, and as we follow Yasser’s days and nights of ritual commitment, we see him transition, reaching an epiphany where he comes to understand both his religion and himself differently.
Writer Shahid Iqbal Khan’s script is beautifully layered, creating a world where we’re invited to see a Muslim man in a religious context, but also to examine his humanity. Directed with meticulous care by Sâmir Bhamra here at the Omnibus Theatre, it’s laugh out loud funny, at times movingly poignant and deeply incisive,
Ahmed’s amazing solo performance is outstanding – athletic and utterly crafted, as he flips between characters, portraying the many people that surround and influence Yasser. Across an entire 80 minutes he convincingly embodies a huge array of qualities, from humour, self-doubt and regret, to wisdom and self-knowledge. Each distinctive physicality and vocalisation refreshes the mood and constantly shifts our perception of Yasser by giving new context. Ahmed paces the performance with precision, charismatically drawing the audience into the experience and taking them effortlessly along on the journey. From a flippant but vulnerable youth, in denial about his past and personal truth, we watch Yasser rise and evolve into to a healed man, connected with himself and his religion.
The production offers a delightful sense of worlds blending, as Yasser moves from one way of knowing to another. Sarah Sayeed’s subtle sound design parallels the shift from a vibrant, modern lifestyle to the minimalist halls of the mosque, using a combination of pop music with more traditionally Arabic sounds. In this place of worship, Rajiv Pattani’s clever lighting creates new spaces and pathways for Yasser, while Rudi Okasili-Henry’s simply drawn projections give presence to other mosque users, but also emphasise Yasser’s isolation from them. Time passing is marked by whirling phases of the moon as Yasser’s personal change occurs incrementally, building to a final, moving revelation.
It was inspiring to see so many brown faces in the audience, as people from the British Asian community came to see themselves represented on stage. As a white woman with little knowledge of Muslim culture I, however, needed to learn the vocabulary being used, to better understand the story. Surtitles projected in both Urdu and English proved a useful reference as I grappled with the religious terminology in the script. Learning the meaning of the words and the actions depicted, I suddenly realised how this play is an active experience for the audience as well as Yasser. Paralleling him, in this theatre space we are offered a chance to find new learning, new understanding of our intent in life. We’re shown an honest, positive representation of a man with faults just like many of us, trying to be the best person he can be, ultimately achieving something admirable, and we empathise. The fact that we do this for a Muslim man – so often demonised in the UK press – has a laudably humanising effect.
Just as for Yasser, my time spent at this mosque felt cleansing and inspiring, connecting me to ways of understanding I’d never considered. I also left smiling and greatly entertained by a funny and deeply heartfelt piece of theatre.
Written by: Shahid Iqbal Khan
Directed by: Sâmir Bhamra
Lighting Design by: Rajiv Pattani
Associate Sound Design by: Reuben Cook
Sound Design by: Sarah Sayeed
Costume Design by: Simron Sabri
Projections by: Rudi Okasili-Henry
Produced by Phizzical Productions
You can read more about this play in our recent interview with performer Azan Ahmed here.
10 Nights plays at Omnibus Theatre until 21 February. Further information and bookings can be found here.
