REVIEW: Beyond Sacred: Voices of Muslim Identity (Ping Chong + Company)

As I took my seat in the Power Center on an unusually warm Saturday evening in February, I am greeted by the words “BEYOND SACRED: Voices of the Muslim Identity” being projected on a black backdrop. As I wait and wiggle around in my seat, the second half of the phrase changes, alternating to so many different languages that I lose count; many I could not name just by looking. I am already excited.

Beyond Sacred: Voices of Muslim Identity by Ping Chong + Company is one of those works whose creation process is as interesting as the performance itself. It is full of contradictions and clarifications and is a fuller narrative for it. As an English major and lover of the theater, Beyond Sacred showed the innate power of well crafted stories to be more powerful than show stop numbers (though I love them dearly). The words were all the razzle dazzle this company needed to leave their audience spellbound.

The production style was minimalist. 5 chairs, 5 music stands, 5 microphones, 5 spotlights, 5 performers, 2 American Sign Language interpreters, and a handful of projections on an otherwise empty stage. As I said, they didn’t need anything more. The minimalism was combined with patterns of clapping, repetition of dates, alternating spotlights as the narration passed from person to person to create an interweaving and complex story of what it means to be Muslim, today and historically. 5 stories of identity, among a vast diverse range of intersecting identities that make up the Muslim community worldwide. Because their main message revolves around subverting the misconception that there is a single Muslim identity.

To give context to these five stories, one of the first parts of the performance is a quiz style list of important dates. Here, early on, the important role of research is evident- Research into the history of Muslim identity. As well as the careful construction and presentation of information. All the performers on stage are telling their own stories, but they are interwoven with their fellow performers narratives. They pass the spotlight between them if you will.

Originally, each performer responded to a call for people to tell their story. They were interviewed by the writers. Then from those interviews, these 5- Tiffany Yasmin Abdelghani, Ferdous Dehqan, Kadin Herring, Amir Khafagy, and Maha Syed- were chosen. From those interviews the writers created Beyond Sacred. During the Q&A, we learned that the performers always had the ultimate say on wording- it was of course their story-, and it was interesting to hear the there was often back and forth as the creators searched for just the right presentation.

Want to learn more about the creation of Beyond Sacred: Voices of Muslim Identity? Check out this YouTube video below:

As I noted, there was a Q&A afterwards. I found this part really interesting because here the performers were able to address how they had re-written/added to the ending which addressed recent events during the Trump administration’s first days in office. They had re-written the ending after the election and even within the last month since the inauguration, it had started to sound dated. So in the last week or so each performer was asked to put into words their thoughts. Their words focused on the importance “of telling your own story” and not letting others create representations of you (Amir Khafagy).

When asked by an audience member about their thoughts on doing this performance when those buying tickets were open to their message and likely “sympathetic”, the response was overwhelmingly that it is still important. Khafagy urged us to realize that question in itself comes from a place of privilege, encoded with the idea that we already know everything there is to know about being Muslim. Other answers focused on how the show is empowering and enlightening to everyone, or the performers wouldn’t feel they didn’t do what they set out to.

Overall, the night was 75 minutes of intense emotion, laughter, revelations, self reflection, and an urgent call to be an active ally and activist. I would recommend everyone see Beyond Sacred: Voices of a Muslim Identity.

And with UMS’ archived livestream you can! Click below! Livestream begins around minute 16.

PREVIEW: Beyond Sacred: Voices of Muslim Identity Ping Chong + Company

“Beyond Sacred: Voices of Muslim Identity Ping Chong + Company” features a foundation of interviews, telling the stories of young Muslim New Yorkers post-9/11. UMS states that this piece work[s] toward greater communication and understanding between Muslim and non-Muslim communities”. In our changing and uncertain world, fostering dialogue and offering platforms for often unheard voices has never been more important.

Ping Chong + Company will be at the Power Center with this amazingly moving work for one day only. This is an event not to be missed! There will be a post-performance Q&A as well.

Details
When: Feb. 18th, 8pm
Where: Power Center
Tickets: Passport to the Arts

Livestream Link

 

 

PREVIEW: Mr. Burns, a Post-Electric Play

Do you love The Simpsons? The game telephone? Enjoy tales with an apocalyptic setting? Then Mr. Burns, a Post-Electric Play by Anne Washburn is just the thing to see this weekend as we prepare for the onslaught of midterms.

Though we all love our electronics, this dark comedy of a play being put on by the Department of Theatre and Drama takes place in a world without electricity. Absolutely none. I know. But in this world, theater and The Simpsons are the height of art. The audience is witness to the transformation of familiar tales as time progresses in the play, leaving the world of electricity further and further in the past.  

Sound like a head-spinning time or a good study break? Come support your fellow students! Here are the details:

When: Feb. 16-19
Where: Lydia Mendelssohn Theatre
Tickets: Link Here OR (pssss- this is a Passport to the Arts event)

REVIEW: National Theatre Live in HD: Harold Pinter’s No Man’s Land

Harold Pinter’s No Man’s Land, is one of those plays so dense, I can’t hope to comprehend, let alone fully discuss, it after just one viewing. So instead, I will discuss impressions and musing brought on by seeing National Theatre Live’s production of No Man’s Land at Michigan Theater this weekend.

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Any performance is enhanced by being under Michigan Theater’s gold gilded ceiling with the organ music playing as you take your seat; the setting creates a perfect mood for musing about the serious, but often simultaneously hilarious, questions about life, death, power, and vulnerability that Pinter’s play brings up. I went and saw the show with my parents, who had driven up for the day and wanted to spend some time in Ann Arbor. So as we sat in the audience, we were a remarkable reflection of the diversity of age in the cast.

Patrick Stewart and Ian McKellen starred in the show as elder men, who eventually became contrasted with the two younger men who appear on the scene. Stewart and McKellen in a Q&A that was part of the taped broadcast, reminisced about seeing the original production as young men. Both have seen it multiple times and commented on the lasting impression it made. The other two actors in the cast either hadn’t even been born yet or were very very young at the time. The narrative explores themes of aging and in the cast they face large generation gaps; my parents and I watched, each coming to the show with different generational experiences. And we all got something out of it but I believe I could identify with the younger characters on a more personal level, while my parents identified with the stars. Independent of age, I think there is only so much I can identify with in a play about four men, contemplating manhood for two hours.

This was not for lack of familiarization or stunning performances by the actors. I greatly admire both Stewart and McKellen, both of whom were amazing in No Man’s Land, pivoting from hilarious to serious on the turn of a dime. They earned their reputations and then some in this language heavy, dialogue driven piece. If I were to sit and listen to it again, I’m sure there would be many moments or understandings I’ve missed, which ensures this play probably isn’t going to disappear from the stage anytime soon.  The friendship that Patrick Stewart and Ian McKellen present on stage (and in the below video) is wonderful to watch. 

REVIEW: Idiot-Syncrasy

After having the Thursday performance cancelled due to illness and multiple phone calls attempting to exchange my ticket, I arrived at the Arthur Miller Theatre for Friday’s performance of Idiot-Syncrasy hoping it was worth all the trouble I took to get there. It was that and more.

At the end of the show, I turned to my friend and said, “I think that that is one of the most beautiful things I’ve ever seen”.20170113_191144

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Photo Credit: Mady Martin

Walking in the doors, we were greeted with a sign stating “Attention: Bounce at Own Risk”. Littering the lobby were giant exercise bounce balls. What’s more, they were covered in costumes- there’s no other word for it; some were horses, unicorns, or dinosaurs that you bounced on. There was a bowl full of small bouncy balls for audience members to take and play with before the show. When taking our seats, we were intrigued and eager, but unsure what to expect.

Idiot-Syncrasy appears as a deceptively simple performance. When described to others, the premise sounds ridiculous: Two guys stand against a white drapes, on a white floor, and bounce. Quoting from UMS’ website: “The Urban Dictionary describes “idiotsyncracy” as “any method or procedure based in ritual or dogma that continues by force of momentum beyond the limits of common sense”’. So they’re right: the premise is nonsensical. But yet, it makes perfect sense.

Arriving on stage, Igor and Moreno looked actively around the audience, waiting in silence. With their stares they engaged every section of the house. And then they waited. Long after the murmuring and twittering of people arranging themselves in their seats had died down. As the title implies, the performance is full of moments that push and break our instinctual limits of an action. Then, between one breath and the next they began quietly to sing.

Another trademark of the show was the gradualness with which they moved and the slow rise of their actions’ momentum. It’s almost imperceptible if you stare, trying to catch when the change happens. Then, when you look at a different area of the stage for a second, when you look back you notice the change as if it was drastic and not the slow movement it was in reality. One moment they’re singing and tapping their feet, the next they are bouncing. And they never stop.

Photo Credit: Alicia Clarke
Photo Credit: Alicia Clarke

The physical and mental endurance it took to perform that hour long show, never stopping moving, most of it based in the repetitive up and down movement of jumping, is mind boggling. Though during the after show Q and A, they mentioned how the idea for bouncing came in relatively late in the creative process, this was the anchor for the performance that spoke to perseverance, the slow change it causes, the sense of momentum, and interweaving layers of meaning that this show explores.

There were beautiful moments where they held each other, leaning on each other, or revolved around each other in mesmerizing movements but there was also humor: The meticulous folding of their clothes after frequent quick changes, handing out red solo cups and Vernors to the entire audience- all done while bouncing mind you. This perfect blend of humor and perseverance, combined with their unabashed eye contact with the audience, created a true sense of intimacy. In the best way. It was devoid of the awkwardness that audiences normally feel when the fourth wall is broken and they are forced to engage with the performer- I didn’t feel uncomfortable when he was standing inches from me, bouncing, looking intently. I felt apart of what was happening and it was powerful. And that is what made it beautiful.

For more work by Igor and Moreno, check out their website.

PREVIEW: National Theatre Live in HD: Harold Pinter’s No Man’s Land

Ian McKellen and Patrick Stewart were staple figures from my childhood fascination with film and good stories. Home from school one day, sick with one thing or another, I binge watched all three Lord of the Rings movies featuring Ian McKellen as Gandalf. It was epic.

Patrick Stewart was first known to me for his role in Star Trek: The Next Generation and later as Professor X of the X-Men movies, where I was reintroduced to McKellen as the villain, Magneto. They are a dynamic actor duo, both actors who I greatly admire and whose impact reaches beyond just acting as both are activists in their own right.

Though my first introductions to these men came through their roles in film, they were both originally theatre actors- each spending a significant amount of time at the Royal Shakespeare Company. On Sunday, January 15th, Michigan Theater in partnership with National Theatre Live is broadcasting Ian McKellen’s and Patrick Stewart’s performance of Harold Pinter’s No Man’s Land. The play follows an evening of drinking and storytelling between two writers, Hirst and Spooner, in this comedic classic about power.

Details:
When: Sunday, Jan. 15th
Time: 7pm
Where: Michigan Theater
Tickets: UMS