Google
 
Web    
www.curtainup.com
The War Next Door, a CurtainUp London review CurtainUp
CurtainUp

The Internet Theater Magazine of Reviews, Features, Annotated Listings
www.curtainup.com


HOME PAGE

SITE GUIDE

SEARCH

REVIEWS

FEATURES

NEWS
Etcetera and
Short Term Listings


LISTINGS
Broadway
Off-Broadway

NYC Restaurants

BOOKS and CDs

OTHER PLACES
Berkshires
London
California
New Jersey
DC
Philadelphia
Elsewhere

QUOTES

TKTS

PLAYWRIGHTS' ALBUMS

LETTERS TO EDITOR

FILM

LINKS

MISCELLANEOUS
Free Updates
Masthead
Writing for Us
A CurtainUp London London Review
The War Next Door



Violence is what happens when language fails.
---- Soph
Jonathan Coyne as Ali, Badria Timimi as Hana and Sonny Muslim as Bobby
(Photo: Tristram Kenton)
Tamsin Oglesby's new play centres on the liberal dilemma of whether and when to intervene in a violent situation. Max (David Michaels), a middle class white barrister and his mixed race wife Soph (Lorraine Burroughs) find themselves living next door to a wife beater, Ali (Jonathan Coyne), his oppressed wife Hana (Badria Timimi) and Ali's strange son Bobby (Sonny Muslim).

The dichotomy for the English couple is what to do about Ali. The opening scene is very funny as Max fends off Ali's verbal attack on Max's wife sun bathing naked in their garden. Ali is offended by the sight of the naked woman, "She's not just lying there, she's got her legs up over her head." Max maintains that they can do what they like in their own garden. He tries to find some common ground with Ali, offering him a home grown joint (as if to underline the point that Max can do what he likes in his own garden) and the dope relaxes the men. Soph comes in from the garden and offers Ali's wife a job cleaning for them - well intentioned maybe, but patronising and insensitive none the less — but Hana accepts the job which brings the two women together.

The couple hear Ali hitting his pregnant wife next door, her screams, his blows, and they discuss what to do. Max tries to understand where Ali is coming from, why he is behaving like this. Max confronts Ali about his wife beating and finds out that Ali has been selling dope grown from the plants that Max gave him for his own use. This is an implicit threat to Max's profession in the law. After the birth of her baby, we see Hana being hit by her husband and her stepson and she takes the baby and runs next door for refuge. Frightened by what Ali will do on his return, Max offers to stay that night with Hana with disastrous consequences which I shall not reveal here.

The political message is this: Soph and Max are responsible, free thinking professionals. They care about the planet, about global warming, they will make efforts to reduce their carbon footprint. They may know what to do on a global scale but they are confused by the much smaller predicament next door. Max tries to find culturally based excuses for Ali's behaviour, Soph feels that it is intolerable. Tamsin Oglesby's point may be that in our multi-cultural, multi-faith society, in an effort to be tolerant, are we accepting behaviour from other cultures or religions which is against our values and societal laws? The recent debates on the position of women in Islam is one such issue. You will remember the shocking scene in Zorba the Greek where in a remote the widow is stoned to death for having sexual relations with a man. Another interpretation is that the play is an allegory for the Iraq war. Ali is Saddam Hussein and the simplistic question is, "Should we intervene in other nations or other households to stop violence?" If we do, can we handle the consequences?

The performances are thoroughly competent and believable. Jonathan Coyne is especially sinister as the brutish Ali. It is a shame that his part is so without sympathy as it becomes rather one sided and obvious in a dramatic context. I prefer to believe that everyone has a redeeming characteristic. His son Bobby says nothing but uses an air rifle to shoot pigeons and wild birds in between scenes, assuring everyone that Ali's son will be just as violent as he is, if not more so. Tasmin Oglesby has inserted one racist remark into every speaking character's part, Soph bewails the "snotty little Pollack" cleaner who let her down, Hana berates the black bus driver with an offensive racist term, Ali condemns the Greeks and eventually Max loses his temper and calls Ali a "stupid, backward, third world cunt". Each of these remarks shock and serve to remind that when annoyed, a racist comment can be like a knee jerk reaction, even for the middle class Liberal.

As a dramatic piece, The War Next Door doesn't seem to do more than to describe the liberals' impotence. The allegory with Iraq is limited in its effectiveness but Tamsin Oglesby's play highlights the difficulty of issues of domestic violence.

THE WAR NEXT DOOR
Written by Tamsin Oglesby
Directed by Nicolas Kent

With: Lorraine Burroughs, Jonathan Coyne, David Michaels, Sonny Muslim, Badria Timimi
Design: Libby Watson
Lighting: Lucy Carter
Sound: Adam Cork
Running time: 75 minutes with no interval
Box Office: 020 7328 1000
Booking to 3 March 2007
Reviewed by Lizzie Loveridge based on 6th February 2007 performance at the Tricycle Theatre, Kilburn High Road, London NW6 (Tube: Kilburn)
London Theatre Tickets
Lion King Tickets
Billy Elliot Tickets
Mary Poppins Tickets
Mamma Mia Tickets
We Will Rock You Tickets
Theatre Tickets
London Theatre Walks


Peter Ackroyd's  History of London: The Biography



London Sketchbook



tales from shakespeare
Retold by Tina Packer of Shakespeare & Co.
Click image to buy.
Our Review


©Copyright 2007, Elyse Sommer.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com