Funny, shocking, tragic and yet feel good, Good Muslim Boy challenges many common perceptions. Presented by Queensland Theatre, the play forces consideration of what is good or bad, right or wrong, what it means to live well and what is possible if you really want something.
Thirty-something Osamah, an Iraqi refugee from Iran, came to Australia with his family when he was very young. His father, a prominent Islamic leader in Melbourne, is worried that Osamah is making some bad choices. When the pair visit Iran together, Osamah’s father dies suddenly. Osamah must draw on all of his life experiences, his father’s wisdom and his own will and wit to overcome a corrupt and inscrutable system in his effort to return his father’s body to Australia. Throughout, the audience is constantly challenged to consider their own views as the often stark differences in people’s ways of living are highlighted. A clash of cultures and religions, attitudes which are shaped with age and the difference between the Haves and the Have Nots are all examined.
Good Muslim Boy is a true story, Osamah Sami’s memoir. Sami wrote the book, co-wrote the stage adaptation and now stars in the play. It is not often that an actor on stage has been so deeply involved with the work since its inception. This close connection is evident in his performance, which is compelling and entertaining. It is hard to pick a stand out in the cast of thee, with everyone delivering an excellent performance. Rodney Afif, credited as ‘Man’, captures the sensibility of an ageing, eccentric father well. The awkward yet affectionate and respectful chemistry between the two men on stage is very like a real father and son relationship. Nicole Nabout in the role of ‘Woman’ is also brilliant, her timing always impeccable and her ability to switch characters quickly rather enviable.
A minimalist set is manipulated effectively to look at different times like a bus stop, hotel lobby, morgue, living room and many other locations. This enhanced the performance, the words and movements are allowed to be the heroes of the show. In this performance and in many other Queensland Theatre productions I have seen music is used to great effect. This is a device Queensland Theatre uses quite masterfully time and time again, with the right choice of music at the end of a scene often increasing the weight of the words just spoken.
In writing Good Muslim Boy, Sami said he hoped to tell the story of people who are often only talked about and rarely heard from, highlighting our similarities despite our differences. Within the broader context of Queensland Theatre’s calendar this year it does work well to add another, different voice. It is nice to see that in 2018 Queensland Theatre has once again delivered a season throughout which we can hear a range of stories from different people.
Good Muslim Boy is now showing at Cremorne Theatre, QPAC until Saturday 4 August. Tickets can be purchased here.
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