Venue: Kings Cross Theatre (Kings Cross NSW), Jul 12 – 27, 2019
Playwright: James Elazzi
Director: Dino Dimitriadis
Cast: Maggie Blinco, Antony Makhlouf, Lex Marinos, Mansoor Noor
Images by Robert Catto
Dawn is 80 years of age, and a passionate foster carer. Omar is her latest ward, a wayward teenager who has little but frustration and anger to fill his days. Omar often joins Ahmed on a bridge, unwillingly selling sex to local closet cases. The two boys share an intimate relationship, bonded by homelessness, and similar cultural backgrounds that relegate them as outsiders. James Elazzi’s Omar And Dawn tells the story of gay teens from Lebanese-Australian and Muslim sections of our community. Along with its simultaneous focus on the ageing population of white Australians, the play brings together these two neglected groups, for an unexpected theatrical juxtaposition that reveals a facet of our national identity usually kept under wraps. There is a lot of shame here, but none of it is of our protagonists’ doing. The invisible character in Elazzi’s play is Australia, the part of us that is ignorant, heartless, and wholly responsible for the suffering that people like Omar and Dawn have to endure.
Elazzi’s writing is deeply insightful, exquisite in its ability to put to action, and to words, parts of life that we habitually avoid. There is a fearlessness in its interrogation of the taboo, that makes Oman And Dawn so fascinating; although it sits right under our noses, real talent is required to make us see it properly. Directed by Dino Dimitriadis, the show is extraordinarily tender, and even though sentimental in its rendering, it communicates succinctly, bringing to light with little fuss, that which we have long needed to acknowledge. The production offers an emotional experience, but there is no mistaking the coldness upon which our empathy is drawn. Lights by Benjamin Brockman and sound by Ben Pierpoint portray the steely and pitiless qualities of being Australian, with Aleisa Jelbart’s stage design of grey gravel further asserting the needlessly harsh conditions that some of us are subjected to.
Actor Antony Makhlouf is an energetic presence, and although repetitive with his expressions of Omar’s angst, an unmistakable sincerity in his performance keeps us sympathetic to his plight. Maggie Blinco plays a very dignified Dawn, to provide an elegant, and deceptively quiet, study of a self-assured woman determined to do what is right. Effervescence is brought by Lex Marinos, who is convincing, and wonderfully entertaining, as Dawn’s mechanic brother Darren. It is surprising perhaps, that the most poignant moments come from supporting actor Mansoor Noor, whose powerful depiction of Ahmed’s turmoil, has us spellbound and devastated. The authenticity in Noor’s display of despondency shows remarkable skill, and although profoundly heartbreaking, delivers some seriously delicious drama.
When people become homeless, our impulse is to question the individual, as though our lives are so conveniently detached. Many of us have faced abandonment, by people whose duty it is to love and care for us. How we move from a broken nest, to find a new space of security, will only ever be hard. Omar is always on the verge of giving up, but Dawn has enough resilience for the both of them. She understands that to give of herself, is the only way to escape emptiness. It looks very much like unconditional love, but the reciprocity of that relationship is unequivocal, even if it is not immediately evident.
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