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| Milia Ayache as Sakinah in front of a video image of Fouad Hari Bhaskar Credit PICT |
Sakinah,
the daughter of Lebanese immigrants, and Fouad, son of Syrian refugees, are
friends and lovers working low wage jobs in playwright Yussef El Guindi’s
provocative “Refugee Rhapsody.” A chance meeting with the daughter of a very
wealthy corporate magnate sends their everyday lives topsy-turvy.
A
serious work with humorous touches now getting a “rolling world premiere” by
Pittsburgh International Classic Theatre, the play opens in a prison cell where
Sakinah (Milia Ayache) is being interrogated by Jenny (Dominique Briggs Jackson)
about her involvement in a unspeakably heinous crime. Irascible and petulant,
Sakinah is coaxed along to tell her story by the mild mannered yet tenacious
Jenny, a counselor working for the defense.
Milia Ayache as Sakinah and Dominique Briggs Jackson as Jenny Credit: PICT
While
the two jockey back and forth in the combative interview, one of the
production’s most remarkable elements, numerous video screens along the back
wall, project related images that enhance the narrative. Credit Scott Andrew
with the creative multi-media designs
In
flashback, we see how Sakinah and Fouad (Hari Bhaskar) playfully decide to
crash a benefit gala just for a look at the wealthy benefactress, Emily (Erika
Krenn). To dress for the occasion, they search the racks at a local Goodwill
store, where they work, and pick out second-hand outfits they feel will have
them fit in with the well-heeled crowd.
While
Sakinah’s garb is suitably appropriate, Fouad, a strongly secure cis male,
tries on a cherry red gown which appeals to his flippant, whimsical side and he
goes daringly off to the gala in drag.
Unexpectedly,
things go swimmingly well. Rather than being rebuked by the good-natured Erica,
they’re immediately drawn into her circle and later invited to an intimate
after party at the socialite’s manse. Treated to high end Champagne and $35,000
tins of real caviar from the Caspian, the duo falls under Emily’s munificence
and largess. This holds especially true for Fouad.
As
Fouad and Emily grow ever more attracted to one another, Sakinah
wanders into the bathroom where she undergoes a bout of magical realism with an
oversized painting mounted on the bathroom wall. The life-size image is that of
a ship-wrecked slave that becomes animated in a particularly thrilling moment
masterfully executed by Dionysus Akeem.
Dominique Briggs Jackson as Jenny and Dionysus Akeem as her Husband Credit: PICT
Akeem
gets double duty in the play also portraying Jenny’s executive husband who has
qualms about his pregnant wife working in such close proximity to the
potentially violent Sakinah. The talented actor handles both roles with such
nuanced variation that I hardly could recognize him when he later sculpts the
figure of the ship wrecked slave adrift on the sea standing on a wooden raft.
Milia Ayache as Sakinah and Erika Krenn as Emily Credit: PICT
While
Fouad falls deeper into a mutual romantic relationship with Emily, Sakinah
increasingly becomes an outsider and somewhat acclimates to her recent status
of the jilted lover. When she later learns that Emily is pregnant with Fouad’s
child, she temporally looses it and rashly acts out, which brings her to the
dilemma she now faces as one headed to trial.
To
add to her emotional pain, Fouad arrives to tell her he blames her for his fall from
grace, for his paradise lost freefall, and ends his friendship with her with
brutal final words.
Throughout
the 90-minute, intermission-free run time, Ayache is extraordinary as the high
intensity, emotionally charged Sakinah. If you allow me a bit of hyperbole, her
performance often reminded me to a degree of Maria Callas’ gut wrenching
performances in “Medea.” The mood of the two performances generated in me a
similar emotional response.
As
Fouad, Bhaskar captivates with wide expressive dark black eyes, an impishness
that’s intrinsically humorous, believable, mesmerizing, serious and playful-
all rolled into one soul of gifted talent.
As
artistic director, Elizabeth Elias Huffman should be congratulated by local
audiences for bringing this meaty, stimulating and timely play to the Carnegie
Stage. As director, she seems to have picked her cast and technical crew with
diligence and critical discernment.
This
extends to the creative work by set designer, Johnmichael Bohach, who excites
with some pleasant surprises, lighting designer, Bob Steineck, responsible for
the mood inducing lighting and the delightfully striking, ethnic-appropriate
original music by Steve Shapiro
In
this era when the economic disparity between the one percent and the bulk of
the American citizenry is a hot political topic, a play like “Refugee Rhapsody”
is decidedly au courant.
“Refugee
Rhapsody,” a PICT Theatre production, is at Carnegie Stage, 25 West Main Street
in Carnegie through October 25. For tickets, go to www.picttheatre.org.
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