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An exploration of revolution, mysticism and feminine power that, while occasionally overwhelmed by its own ambitions, offers compelling moments of theatrical magic.Summary
Rating
Good
The bitter taste of hope meeting tear gas is familiar to me. The pain of watching transformative possibilities slip away as dreams of a better future meet harsh reality resonates across generations and borders. Set against the Arab Spring, Women Who Blow on Knots emerges from this universal experience of political awakening and its aftermath.
Adapted by Leyla Nazli from Ece Temelkuran‘s novel and directed by Lerzan Pamir, the play follows four “women who blow on knots”, who in a different time would have been called witches or enchantresses, as they forge an unexpected bond in post-revolution Tunisia.
Maryam (Livia Arditti), an Egyptian academic, Amira (Antonia Salib), a Tunisian dancer, and Eve (Gamze Sanli), a Turkish journalist, watch a wedding unfold, sharing life stories over drinks, and find themselves drawn into the orbit of the enigmatic Madame Lilla, played with magnetic intensity by Nicole Ansari-Cox. An unlikely friendship quickly transforms into a fascinating journey across a region in turmoil to help Madame Lilla confront the man who destroyed her life.
The production’s strongest moments happen when the personal and political naturally intersect. This works beautifully in the opening scene which shows the young women’s budding sense of solidarity, and it shines throughout in Amira’s story. Salib brings compelling depth as Amira’s personal liberation becomes inseparable from Tunisia’s own battle for change. Each woman’s internal struggle with loss, grief and hope carries similar potential for resonance.
Yet these powerful moments are often overshadowed by sharp tonal shifts, uneven pacing occasionally affected by expository dialogue, and an increasingly convoluted plot. By the time we reach quadruple-crossings followed by helicopter evacuations, the production seems to take on an almost satirical or absurdist tone. This sense only intensifies with a surprisingly consequence-free ending that seems to forget the gravity of its characters’ actions and the idea of revenge having a cost.
The exceptionally versatile ensemble cast (Mercedes Assad, Öncel Camci, Sara Diab) brings remarkable depth to multiple smaller narratives. Each vignette is performed with stunning intensity, making it more frustrating when these compelling threads are left dangling. Deserving of fuller exploration in a different context, they end up distracting from the main plot. There’s a sense that many powerful elements from the book were kept at the expense of overall cohesiveness, the production’s determination to tell too many stories ultimately undermining its collective impact.
Thematically, the script ambitiously weaves together mysticism, revenge, and feminist awakening. Additional elements – from animal welfare in wartime to traditional healing – further crowd an already dense narrative. This results in moments where political commentary feels artificially grafted onto dialogue, and many lines lifted directly from the novel feel expository.
While the comedic moments are skilfully delivered, offering necessary relief from the heavy themes, these tonal shifts – particularly a pivotal ‘murder’ during a moonwalking competition – sometimes jar rather than relieve.
Neil Irish‘s evocative set design and Richard Williamson‘s lighting prove remarkably versatile, working equally well conjuring a Tunisian café or a goddess’s temple. Öguz Kaplangi‘s sound design and original music provide crucial emotional underpinning, bringing to life the different locations visited as well as helping ease into the more mystical elements.
This is an ambitious work that reaches for profundity it can’t always grasp. Yet when it does connect, the result is undeniably powerful. With tighter pacing and a focused narrative approach that allows the human element to shine more naturally and characters to develop more fully, its abundance of individually strong elements could transform into an exceptional whole. While it may not fully realise its potential, the play remains a vital, necessary attempt to grapple with the complexities of change, both personal and systemic.
Original novel written by: Ece Temelkuran
Adapted by: Leyla Nazli
Directed by: Lerzan Pamir
Set Design by: Neil Irish
Sound Design by: Oğuz Kaplangi
Lighting Design by: Richard Williamson
Women Who Blow on Knots plays at the Arcola Theatre until Saturday 23rd November.
Further information and booking details can be found here.
