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An intense performance infused with a rich combination of fear, hope and new beginnings. Summary
Rating
Excellent
As a teacher, I have had the pleasure of witnessing young people explore a wide range of creative endeavours: from music production and theatre-making to sculpture, cooking, and designing and creating clothing from scratch. Achieving a high level of skill in any one of these disciplines is impressive and requires natural flair; to masterfully execute two simultaneously, without instruction, for 75 minutes in front of a sold-out audience is truly exceptional. This is precisely what Isabella Nefar accomplishes, holding the audience captivated throughout.
The performance begins even before entering the space, with the smell of raw onions wafting down the staircase leading to the stage. Upon arrival, Nefaris seen gently chopping onions and garlic, softly singing to herself in a near-trancelike state. This theme of cooking as a source of calm resonates throughout the play. My English Persian Kitchen, written by Hannah Khalil and inspired by Atoosa Sepehr’s bestselling cookbook, sees Nefar create a live rendition of ash-e reshteh, a hearty Persian noodle soup, which she later invites the audience to share with her. However, the play is far more than a simple culinary demonstration. It tells the story of an unnamed woman’s escape from an abusive relationship in Iran and her struggle to rebuild her life in a foreign land.
Nefar’s physical performance is highly commendable, with several heart-stopping moments involving the very knife she had been using just moments earlier. Her movements are executed with precision and grace, adding an underlying tension that keeps the audience on edge. Equally impressive is her vocal and facial control, which she uses masterfully to convey the emotional depth of her character, as well as those of her parents and ex-husband.
The lighting is particularly striking, not only from the lighting desk but also as part of Nefar’s performance. A standout sequence occurs when she switches between the roles of the woman and her ex-husband, characterised by deft changes in her voice and the repositioning of a small light beneath her face – a simple yet highly effective technique.
The set is equally simple yet intricate. The small kitchen unit, which dominates the stage, is filled with everything Nefar needs to create her culinary masterpiece, and she moves around it with practised ease. A minor technical hiccup occurs when the onstage hob fails to function, but this is swiftly rectified by a member of staff who unobtrusively flicks a switch on the wall.
Just as the opening draws the audience into the woman’s world, Nefar’s invitation to her newly found friends to share a meal with her further envelops them into her story. This invitation is eagerly accepted by the full house, creating a sense of warmth and community among the group who, just 75 minutes earlier, were complete strangers.
This is a story of loss, love, renewal, and the search for identity and community in an unfamiliar world. It will not only make you long to visit Iran but also inspire you to recreate the soup at the heart of the narrative. Thanks to Khalil’s witty and clever writing, you’ll leave the performance armed with tips and tricks to try in your own kitchen.
Written by: Hannah Khalil
Based on an original Story by: Atoosa Sepehr
Directed by: Chris White
Set Design and Costume by: Pip Terry
Lighting by: Marty Langthorne
Sound by: Dan Balfour
Movement Direction by: Jess Tucker Boyd
Produced by: Soho Theatre & Traverse Theatre
My English Persian Kitchen plays at the Soho Theatre until Saturday 5th October. Further information and booking are available here.
