Good Muslim Boy

Personable, enigmatic star of the autobiographical film Ali’s Wedding Osamah Sami takes us on the journey of a lived memoir, from his own storyGood Muslim Boy, of an almost unbelievable romp in Iran.  Well timed, beautifully underscored with sound and music (Phil Slade) on a very functional set designed by Romanie Harper, three actors bring to life this gem of a ‘stranger than fiction’ narrative.    

As an especially funny story, it offers a night of laughs.  The action commences with a chat to the audience that has the feel of stand-up-comedy about it and then proceeds to detail a chain of events in the form of numerous vignettes that swiftly morph – one into the other.  Osamah Sami plays himself as he battles with characters of the bemusing and confusing Iranian bureaucracy, to bring home the body of his father who suddenly died on a father and son holiday/personal pilgrimage to Iran.   

The opening works well.  However throughout Sami could reach out more fully to his audience and take greater advantage of the organic nature of storytelling in live theatre.  As audience we are very keen to connect to this extremely charismatic protagonist.  If he spoke to us more fully, more often, it would be gratifying.

The work is particularly fascinating because the cultures of the Middle East tend to mystify us.  Since the Iranian revolution of 1979 the West could be forgiven for thinking what was once Persia is a very dangerous place.  Sami and director Janice Muller subtly imbue the action with the sense that danger could be lurking around any corner and behind any official counter.  Yet, as the story unfolds Sami courageously unswervingly follows instructions and takes massive risks, such as travelling without a passport, to succeed in his daunting quest.

As a whole Good Muslim Boy comes across as intense Iranian experience from Western eyes.  What is extraordinary is the nerve, pluck and daring Sami garners to get through the mysteries of the intense ordeal and home to Australia with his father’s body.

Rodney Afif beautifully fulfills his roles, including that of Osamah Sami’s father, with clean definition and commitment.  Nicole Nabout in her depiction of numerous characters displays exquisite versatility and is quite magic at times.

The lighting by Ben Hughes, however, doesn’t fully support the staging.  Too often it is murky and dark and lacking variation and definition.  This could signify pollution, or be intended to enhance the pervading sense of mystery in the machinations of the treacherous series of events.   However I feel there is too much shadow.

All in all - Good Muslim Boy is a most entertaining, enlightening and enjoyable evening of theatre. 

Most enjoyable!

Suzanne Sandow

Photographer: Tim Grey