Review of ‘Nowhere’: “It’s found its path”

Film and television star Khalid Abdalla makes his play-writing debut in this one-man show dealing with his own personal struggles as he reflects on racial discrimination and social upheaval. Guillermo Nazara shares his views on the show, to let us know if this heartfelt portrait of a rough reality leaves enough room to wonder.

On the day we commemorate the sufferers of a horrific massacre, and reflect upon the terror that followed and which, to these day, still persists, there’s an odd sentiment about writing this review – just as there was last afternoon, as I gathered my thoughts about the Royal Court’s Giant. To be fair, I don’t find myself in a position which is wise enough to express any verdicts about the way the Israel-Palestine conflict has been handled. And to be even fairer, I believe too many people (from every perspective) have been excessively vocal about things they don’t seem (or at least, haven’t demonstrated up until now) to understand too well. Yet, there’s still something that we, as global community, should advocate for unanimously, and that stems from repudiating xenophobia, discrimination and, above all, the slaughter of innocents in every form.

I’m the sort of person that loves to make jokes when critiquing theatre. This may be the first time I don’t even bother (I’m just that good). Alright, may there was an attempt there (no need to raise your eyebrows…). But I’ll allow myself the treat. After all, Khalid Abdalla does it several times through his own written one-man show, and by all means that minor relief does not deprive the piece from any gravitas. If anything, it just makes it more compelling, more personal – something that we can easily bond with, because we feel welcome into, and in some way, safe. Not precisely the journey of his stage persona (which is just a poeticized version of true self), as his writing introduces us to the wrongs of racial bias he’s been put through along his entire life.

Those who, after reading that last sentence, may be thinking of this monologue as an act of victimization may hold their fire for now. Yes, we do live in a time where everything becomes easily weaponized at the blink of an eye. And I would be lying if I said that the piece doesn’t make quite a blunt political statement. But there’s only as many ways you can find to tell somebody’s story. And regardless of any convictions, the personal truthfulness this text exudes all throghout makes that approach the right one.

Directed by Omar Elerian, the visual elements the montage relies on, combining different techniques that range from metaphors to other more abstract conceptualizations, works in good harmony with Abdalla’s intimate recount – enhancing the iambic element of the performance, while also setting up an absorbing atmosphere which, in tandem with the author’s sincere rendition, manages to strike a visceral reaction from the audience. It invites you to reach your own conclusion despite remaining clear about its stand. And like them or not, its ability to stir is sufficiently powerful to make you re-explore every theme you’ve been presented with even days after watching.

A story of loss, gain and learning, Khalid Abdalla’s experimental soliloquy, Nowhere, finds its way (and place) into both the viewer’s heart and mind, by crafting an honest, defying and transporting jaunt that’s capable of inciting, moving and captivating through a transparent gaze into some of the most opaque matters that we, as society, are bound to encounter – even if we deliberately choose to look away. Despite a slight lack of cohesiveness in style, as well as a few small bumps in its pacing, the dramatic and philosophical force of the material proves itself robust enough to grip and compel audiences – and bring a sense of unity among any eager listeners, despite the divisive nature of some of its subjects.

Nowhere plays at London’s Battersea Arts Centre until 19 October. Tickets are available on the following link.

By Guillermo Nazara