Venue: Riverside Theatres (Parramatta NSW), Jan 9 – 18, 2020
Playwright: James Elazzi
Director: Dino Dimitriadis
Cast: Nisrine Amine, Deborah Galanos, Antony Makhlouf, Johnny Nasser
Images by Robert Catto
Danny is compliant and cheerful, as he lends a hand to his sister Josephine, who is causing a frenzy at home, preparing for her son’s christening. They are modern day Lebanese-Australians, very much a part of mainstream contemporary life, but not without their own traditions, as is common amongst minority groups. In James Elazzi’s Lady Tabouli, we celebrate the uniqueness of that cultural heritage, but together with everything good that contributes to the diverse tapestry defining our experience of identity on this land, comes a regressiveness determined to oppress the same people who wish to preserve those values.
As the hour draws close for the big event, in the midst of a lot of spirited hullabaloo, Danny decides to come out of the closet. The incongruity of sensibilities in Lady Tabouli, of a man revealing his true self whilst his family attempts to enact the most symbolic of ceremonies, forces us to acknowledge the complexities of our multiculturalism, especially in terms of LGBTQI issues, and how Australia must look beyond legislation to address the prejudice inherent in so much of our cultural practice. Gayness may no longer be illegal, but in so much of Australian society, gay people continue to be shunned.
Elazzi’s writing is powerful and passionate. Its incisive honesty provides an urgency that grips us, having us invested in the family’s story, regardless of where we stand in relation to its arguments. An abrupt conclusion however, suggests that more could be explored, even if we do appreciate the ambiguity pertaining to Danny’s subsequent developments. Directed by Dino Dimitriadis, the work is mesmerising when emotions run high. Early scenes are appropriately manic, but its humour never really takes flight. When things turn serious is when the magic happens. There is a depth to the way its characters and narrative are presented that absolutely captivates, alongside a sorrow that sings with disarming authenticity, of rejection and of loss.
That melancholy is exhaustively manufactured by the formidable partnership of Benjamin Brockman’s lights and Ben Pierpoint’s sounds, both elements hellbent on having our emotions respond with intense empathy. The show begins in the kitchen, depicted by production designer Jonathan Hindmarsh with middle class respectability, prosperous but ordinary, that transforms into the proverbial good room, where a more idiosyncratic notion of selfhood can be expressed.
Actor Antony Makhlouf is a compelling Danny, accurate in his portrayal of frustrated despondency, for a young man caught between two worlds. His mother is played by Deborah Galanos, a big presence bringing resonance to themes of piety and control, in a story about emancipation and freedom. Josephine the overbearing sister, is made scintillating by an exuberant Nisrine Amine, and Johnny Nasser is wonderfully nuanced in dual roles, adding intriguing texture to the show.
We have always tried to exercise control over nature, whether using commerce as a form of logic to plunder earthly resources, or to obliterate the most beautiful of human connections in the name of religion. We constantly position ourselves above, interpreting our variety of intelligence as solution for what we deem to be chaos in the world. More than ever before, we can see clearly that rather than being able to achieve order, what we do best is destruction. In pessimistic times, it is hard to talk about growth and progress, but our capacity for evil becomes painfully comprehensible.