On December 6th, at 5 PM, the Ford Collaboratory in the Mardigian Library became a portal to war-torn Syria through the powerful stage adaptation of Zoulfa Katouh’s As Long as the Lemon Trees Grow. The story, which follows Salama Kassab’s heartbreaking journey through the Syrian civil war, was beautifully translated into a theatrical experience
The play centered on Salama (played by Leila Haddad in a standout performance), a former pharmacy student turned volunteer medic. Leila captureed Salama’s internal struggle with raw, unflinching authenticity. Her portrayal of guilt, hope, and despair—especially in moments of silence—felt like a masterclass in restraint. Haddad’s ability to convey emotion, especially in the quieter, more introspective moments, was mesmerizing.
However, where the play truly shone was in its staging. Director Amira Shafiq, President of the Theater club, created an intimate, immersive experience that makes the audience feel as though they’re walking alongside Salama in the ruins of Homs. The use of minimalist sets striked a balance between realism and surrealism. The lighting design deserved special mention, with its stark contrasts between the warm glow of past memories and the cold, unforgiving present.
One of the play’s most intriguing choices was the personification of Khawf, Salama’s manifestation of fear. Actor Omar Darwish gave Khawf a chilling yet oddly sympathetic presence. His interactions with Salama—at times antagonistic, at times comforting—perfectly captured the inner turmoil of living through unimaginable horrors. These scenes, while impactful, occasionally slowed the pacing slightly, but they were essential in depicting her mental and emotional state.
The dialogue, much of it drawn directly from the book, was both poetic and raw, though some lines feel better suited to the page than the stage. While some of Salama’s reflections felt a bit expository when spoken aloud, they still carried the emotional weight of her journey.
“Perhaps this could have been remedied with more physical storytelling or additional silences to let the weight of the words sink in,” added Alexis Mohammed, a student at the University of Michigan Dearborn.
The supporting cast also delivered heartfelt performances. Yasmin Agha brought warmth and strength to the role of Layla, Salama’s pregnant best friend, though her limited stage time left her arc feeling somewhat underexplored. Karim Al-Rashed, as Salama’s brother Sami, offered moments of levity and hope, with his final scene leaving the audience in stunned silence.
One of the play’s most powerful moments was the climactic hospital scene. The chaos of wounded civilians flooding in, enhanced by overlapping shouts, frantic movement, and a pulsing soundscape, left both Salama and the audience breathless. It was a visceral reminder of the relentless toll of war.
That said, the play did struggle to capture some of the novel’s nuance, especially in depicting Salama’s quieter moments of healing and growth. The ending, while emotionally charged, felt slightly rushed, leaving the audience including myself, yearning for a deeper exploration of Salama’s transformation.
As Long as the Lemon Trees Grow is a story that demands to be told, and this stage adaptation did justice to its poignant message. With stellar performances, innovative staging, and a deeply personal tone, the December 6th performance was more than a play—it was a call to bear witness, to empathize, and to remember.
