TW: mentions of domestic violence
“Love can move people to act in unexpected ways and move them to overcome the most daunting obstacles with startling heroism”, Khaled Hosseini writes in his bestselling novel A Thousand Splendid Suns. When I sat down at the Birmingham Rep Theatre on the 17th of April, it became apparent that this love can manifest itself in a variety of ways, with theatre inspiring it through empathy.
Theatre allows us to connect with others, impacting the way that we experience people’s narratives. Ursula Rani Sarma’s adaptation of A Thousand Splendid Suns took the audience on a journey beyond the confines of a stage, resonating with them, moving them to tears, and raising the questions — how far have we come in the fight for women’s rights, and where can we go?
The show demonstrated the power of theatre to inspire change in society, one step at a time.
Whilst the emotional movement of this show set it apart, the physical aspects of the performance were also evocative. Set on Simon Kenny’s backdrop of interlocking octagonal shapes, decorated with Afghan rugs, Laila and Miriam’s backstory was told through a series of flashbacks. This allowed most of the action to take place in one location, emphasising the family’s isolation. During the second act, a metal frame appeared, creating a more ominous atmosphere.
The play focused strongly on the issue of domestic violence, and to portray this, the use of physical movement was heartbreaking but creative, with Rashid beating Miriam after her and Laila’s failed attempt at escape being particularly distressing to watch. Jonas Khan (Rashid) wielded a belt and lashed it over the one side of the stage, whilst Rina Fatania (Miriam) wailed, doubled over, jerked, and eventually fell unconscious on the other. We see this illuminated upstage, whilst Kerena Jagpal (Laila) sobbed downstage, hearing the torture of her beloved friend. This scene was not in isolation, and both women’s pained, submissive movements throughout the play served as a physical reminder of a life without respite from their violent husband.
Unsurprisingly, the emotional intensity of these scenes had a powerful effect on audience members. A lawyer who worked with victims of domestic abuse broke down in tears at the end of the play, describing how much she was moved by its representation. She acknowledged that Miriam and Laila’s experiences extend beyond the oppression of the Taliban government. Isolation and hopelessness are feelings faced by domestic abuse victims all over the world, and seeing these experiences manifested onstage provided an insight into their suffering.
Scenes that brought people’s attention to the unfolding situation in Afghanistan, were Aziza reading a list of new Taliban rules, Rashid losing his shop to the Mujahedeen and Laila having a caesarean section without anaesthetic. These forced the audience to confront the reality of living with such political instability, as well as the irony of a society that aims to protect women from the outside world but not the danger in their own homes. Watching these characters’ stories unfold in front of you on stage stirred up many emotions, but particularly anger.
This brings me to the third element of movement, progression. After being inspired by 135 minutes of powerful theatre, how do we ensure that Hosseini’s words and Sarma’s adaptation escape the confines of our memory and inspire us to act beyond the stage? On this night of the production, The Rep hosted a post-show discussion with the cast members and Abdul Wase Samin, an Afghan academic pursuing a PhD at Aston University. I had never experienced this before, but it felt appropriate in the aftermath of such a thought-provoking story. The cast members discussed the difficulty of authentically bringing some of the characters to life, and it was also here that we heard the story of the domestic abuse lawyer. I experienced how talking to those who have further insights into the issues raised onstage can widen our perspective and provide new avenues for participation.
With the Taliban reclaiming control of Afghanistan in 2021, Hosseini’s story is even more prevalent and acknowledging that the fictional characters onstage represent the lived experiences of many should inspire us to educate ourselves and amplify those whose voices are being systematically silenced. Supporting campaigns, signing petitions, and reporting the stories of Afghan women not just as victims of abuse but also as agents fighting against their oppression, ensures that their narratives are not misrepresented or forgotten. For more direct action, the lawyer also encouraged audience members to support UK domestic abuse charities, such as Women’s Aid or Refuge.
Therefore, theatre can provoke discussions that encourage people to act. To say that Sarma’s production of A Thousand Splendid Suns was moving would be an understatement, and the show demonstrated the power of theatre to inspire change in society, one step at a time.
(Image courtesy of Jayni Makwana)