Tag Archives: Sami Ibrahim

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“Multiple Casualty Incident” at the Yard Theatre

A group of medics training to work in a disaster zone guarantees plenty of drama in Sami Ibrahim’s new play. As four characters read out scenarios and role-plays to prepare for a future far away, their pasts, and the here and now, come into focus.

The scenes are super short but director Jaz Woodcock-Stewart still provides time for the audience to think. There are a lot of questions about motives, of course we assume all are well intentioned. And the impact of corruption within the charity they work for could be the subject of a play itself.

As we get to know the quartet, their personal lives are explored in detail. Ibrahim has created great roles. Dan, played by Peter Corboy, is an effective comic character and developed wonderfully. The group facilitator, Nicki, has the chaos under her calm exterior skilfully portrayed by Mariah Louca. 

The focus of the play though, is Khaled and Sarah, who start a romance that Luca Kamleh Chapman and Rosa Robson excel at depicting. There’s an age gap between them, as well as differences in race and religion – but none of this is overplayed. Fathers feature big for both, two very different legacies that weigh heavily. But the audience isn’t clear if this is enough to bring them together, or even if Sarah is telling the truth about what happened to her Dad.

The role-plays, and the gap between fiction and reality, are used to great effect with tension mounting terrifically. As the exercises are acted out, the characters’ “improvisation” becoming better – and more aggressive – everything starts to blur. Sarah even gets Khaled’s name wrong at one point.  Confusion is deliberate and brilliantly handled by Woodcock-Stewart. Similarly, the TVs that are the main feature of Rosie Elnile’s design: of course it makes sense the trainees are filmed, but the screens come to dominate and cleverly obscure our view.

Multiple Casualty Incident is a play of considerable wit, as well as passion, and intelligence. As well as being funny and sexy, the games it plays with the audience raise important questions about prejudices. Imagining drama used in this very different context reminds us of its raw power. If there’s a flaw here, it’s that Ibrahim doesn’t quite know how to finish the play… then again, I can’t say I wanted it to end.

Until 8 June 2024

www.theyardtheatre.co.uk

Photo by Marc Brenner

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“A Sudden Violent Burst of Rain” at the Gate Theatre

With magical sheep whose wool makes the rain and a trip to a king’s castle, playwright Sami Ibrahim blends elements of a fairy tale with a story of immigration. The mix is productive and, benefitting from a strong production directed by Yasmin Hafesji, deserves acclaim. Just don’t get too comfortable as you settle down for this yarn.

As the Gate Theatre’s first production in its new Camden home, Hafesji enhances the intimacy of the venue. Inside, the audience is very close to the in-the-round action so a snug sense of settling down to hear a story is cleverly fostered. With several trunks that contain surprise props, Ryan Dawson Laight’s design is great, providing an air of improvisation that adds dynamism.

Samuel-Tracy-credit-Craig-Fuller
Samuel Tracy

But an excellent trio of actors as story tellers is the key to success here. Sara Hazemi takes the role of Elif, an illegal immigrant in a strange land, exploited but retaining dignity and independence. Princess Khumalo is her daughter (at various ages) as well as The Landowner (the least successfully written role) and is especially good at injecting some humour. Samuel Tracy plays, mostly, Elif’s suitor – a character who is, admirably, not simply her seducer. The characters are all brought to life well. The cast excels when it comes to creating the air of a story in progress – the actors bring a sense of urgency to a script that plays with timelessness.


The gravity of the story increases – after all, immigration isn’t a fairy tale. Elif’s attempts to shape narratives (past, present and future) are contradicted by other characters. There’s a sinking feeling around encounters with bureaucracy or attempts at betterment. And there are moments of frustration – including a long fantasia delivered impeccably by Hazemi- that have great energy. It isn’t Ibrahim’s fault that the play becomes predictable. Indeed, it adds weight to his argument. We expect fairy tales to have a happy ending. That this one doesn’t is a bold move.

Until 5 November 2022

www.gatetheatre.co.uk

Photos by Craig Fuller