The Jaleh Esfahani Cultural Foundation welcomed audience members to a one-night evening of stories and music, celebrating the women of Iran.
All proceeds went to the ‘Daughters of Persia’ Scholarship Fund, to support young female artists from Iran, Afghanistan and Tajikistan.
Written by the acclaimed William Nicholson and staged at the contemporary Kings Place music and visual arts event venue, expectations and ticket prices ran high.
Blossoming musical renditions
The original music, led by Iranian composer Farhad Poupel, was astoundingly beautiful. Effortlessly played by a trio of talented musicians: Bradley Creswick, Guy Johnston and Margaret Fingerhut. The three worked in a rotation of refined solo pieces and cohesive group performances, demonstrating proven years of skill and dedication to their music.
More than standalone listening pieces, the music served as an emotive companion to the narrative, retelling and enriching the stories being told. Whether alongside the spoken word or following the conclusion of a chapter, it mirrored the struggle, strength and vulnerability of Iranian women across years of history, art and literature. Captivating and elevating, it was the undoubted centre point of the show.
Talent unutilised
Narrative roles were shared between experienced actor Tamsin Greig, comedian Shappi Khorsandi and accomplished video game voice actor Shala Nyx. Greig was most evidently comfortable with the dramatic text, whilst Nyx, initially hesitant, grew into the role and emotion as the second act was reached.
Khorsandi read as the non-actor of the group, shyer in commitment to the reading. However, these were women well accustomed to audiences, text and stage presence. A more instinctively natural performance was expected, but the narrative moments fell short of the musical pieces.
A too simple setup
Much of this disparity was caused by the stale staging. The use of mismatched plastic podiums and large black script folders created a physical and emotional barrier between the narrators and the audience. The result felt closer to a constructed formal lecture or discussion panel rather than an inspiring, immersive storytelling experience.
More than standalone listening pieces, the music served as an emotive companion to the narrative, retelling and enriching the stories being told.
Director Melissa Greenwood’s decision not to utilise the performers’ evident stage experience in a more visually captivating way was puzzling. A recorded voiceover, or more fluid narrator interpretation, would have felt like a bolder and more purposeful artistic choice than repeatedly stepping to and from podiums.
Important aims, unreached potential
Whilst the event succeeded as a welcome fundraiser and platform for the Iranian composing team of Farhad Poupel, Reza Vali and Aftab Darvishi, in terms of its production value, it was unimaginative. With a powerful script and evocative score, it was a missed opportunity that these vital stories were not complemented with greater theatrical interest, or by Persian performers themselves.
Featured Image: Daughters of Persia Poster Art
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