Zimmerman’s "The Arabian Nights"

If you'd like a magical escape from the politics, war and social change in the news about the Arab world, Mary Zimmerman's Arabian Nights is the theatrical production for you. Set in ancient Baghdad with subplots in Cairo and around the Middle-East, Arabian Nights presents a glimpse into Islamic life that is so creatively nuanced that it couldn't be replicated in one's wildest dreams. This unique piece of art was clearly crafted by an expert director and playwright. I was fortunate enough to see this play last night courtesy of the discount ticket program at Arena stage, but Zimmerman's latest artistic masterpiece will be playing in DC through February 20^th. (I'd recommend getting tickets as soon as possible because word of mouth travels quickly about these performances and they are more likely to be sold out towards the end of the show's run.)

The plot is built around the story of a young woman who uses storytelling to escape her tragic fate. Over the course of the almost three hour long play, the desperate protagonist draws upon her superb and mesmerizing storytelling skills to captivate her would-be murder and by consequence, the audience too. Her stories are humorous, imaginative and bold. At times, the stories mirror the themes of the main plot, creating parallel representations of love, betrayal and revenge.

Despite its seemingly solemn subject matter, it is actually quite a humorous performance to watch. I laughed consistently throughout the evening as characters tried to trash-talk their way out of trouble in various scenes. The script is delightfully sprinkled with easy puns and sharp wit. Best of all, Arabian Nights provides an imaginative escape without the special effects and frills of Hollywood cinema. Viewers are encouraged to use their own minds and actively participate in forming their own visual image of the play.

My take on every tongue confess

Thanks to the wonderful discount ticket lottery at Arena Stage, I had the privilege of seeing acclaimed playwright Marcus Gardley’s every tongue confess starring Phylicia Rashad last night. Gardley graduated from the Yale School of Drama in 2004 with a Master of Fine Arts degree and has been showered with awards and recognition since. every tongue confess is the first performance on the Arlene and Robert Kogod Cradle Stage, a new stage built during the recent $135 million renovation of Arena Stage.

The play is set in a small Alabama town during a time of racially motivated black church burnings. On the surface, the setting seems trite for a black play, but the fact that it takes place in the 90’s adds an element of uniqueness. Most characters in the play are modern and anti-racist and one character even jams her headphones while rigidly adhering to a vegan lifestyle. This interesting contradiction of a seemingly outdated phenomenon happening in modern times ignites feelings of curiosity and confusion in the audience. (I was on the edge of my chair trying to figure out who the heck would burn down black churches in the 1990’s)

every tongue confess provides opportunities for both black and white actors to play complex roles that develop slowly over the course of the performance. A mute quietly evolves into a loud vocalist and a blues singer seamlessly becomes a savior. Phylicia Rashard’s character, Mother Sister, is a mother, preacher, widow and healer. She is by far the most captivating of the actors and eloquently displays her deep roots in live performance art.

Without spoiling the show, I’ll conclude by saying that the play really does a good job of demonstrating how hypocrisy fuels bigotry and how hate is passed down inside families. I definitely recommend this new play and hope to see it travel the country and maybe even get featured on Broadway. Be sure to use your imagination to embrace the magic realism in the show and don’t be afraid to laugh at the punch lines.