Review: Sinbad the Sailor, Sadler’s Wells

Mona Khashoggi is a Saudi writer and theatre and film producer who specialises in reviving cultural stories from the Middle East. She draws on traditional forms and narratives and aims to bring a fresh angle designed to engage wider audiences.

Her latest project is a dance-based retelling of Sinbad the Sailor, the legendary tale from One Thousand and One Nights (Arabian Nights). Sinbad, a mythical sailor from 8th-century Mesopotamia (modern-day Iraq), embarks on seven epic voyages. In this adaptation, the creative team draws on those adventures, taking the audience through encounters with fantastical creatures including a whale, a beguiling snake, and wild bandits, as well as mysterious caves, vast deserts, and deep oceans. It’s a whirlwind, family-friendly adventure that audiences clearly enjoy.

Khashoggi and choreographer Anjali Mehra have assembled a strong, global cast of dancers from ballet, contemporary, and traditional cultural dance backgrounds. Most of the ensemble play multiple roles throughout, with a series of choreographed sequences, character duets, and solos that showcase a well-executed fusion of styles.

Mark Samaras, dancing as Sinbad, brings both precision and flair to the role of the likeable hero. His interpretation of the choreography provides some of the performance’s most memorable moments. It’s always exciting — and especially inspiring for young audiences — to witness a large cast of dancers working with such energy and pace, and this production certainly delivers in that respect.

At its heart, Sinbad’s story is about human courage and ingenuity, exploring deeper themes of power, greed, and love. Unfortunately, this is where the production lacks emotional depth. While we’re treated to sumptuous costumes, a beautiful impressionistic video backdrop, and a sweeping (if occasionally overpoweringly loud) musical score featuring traditional songs from the Middle Eastern diaspora, the piece struggles to forge an emotional connection with its audience.

Despite the detailed choreography, there’s little that resonates on a deeper level. We don’t truly feel the characters’ dilemmas, hopes, or fears. This might be due – as was hinted in the introductory speech before the piece started – to the fact that the production is still in an early stage of development. If that’s the case, I’d suggest that rather than adding more dancers or spectacle, the creators might focus on giving the piece – and the artists – more time and guidance to bring out the underlying emotional themes.

There’s nothing wrong with creating a performance that entertains on the surface: who doesn’t enjoy great music and impressive dancing? But contemporary young audiences live in a complex world. Traditional tales and cross-cultural storytelling have the potential to act as powerful catalysts for deeper reflection. Perhaps a specialist mentor or dramaturg with experience in work for young audiences would be a useful addition to the team next time around. Work that celebrates and explores cultural diversity is sadly still too rare on our stages. This piece deserves a wider audience, but may need a little help to achieve that ambition.

Sinbad the Sailor is a story that blends myth, fantasy, and moral lessons. It has inspired countless books, films, and adaptations over the centuries. This production could absolutely rise to that legacy if it wants to. Yes, let the dance speak, but remember, sometimes an attentive silence or a collective intake of breath from an audience can be far more powerful in the long-term than culminative singalongs or standing ovations.

Written and directed by: Mona Khashoggi
Directed and Choreography by: Anjali Mehera
Assistant Choreography by: Steph Archer
Set & Costume Design by: Gregor Donnelly
Video Design by: Matt Powell
Musical Supervision by: Josh Sood
Lighting Design by: Jonathan Chan

Sinbad the Sailor has completed its current run at Sadler’s Wells