Review of ‘Statues’: “Carved but not ingrained”

The Bush Theatre hosts the London premiere of actor and writer Azan Ahmed’s latest play, exploring the trials and tribulations of a second-generation Muslim teacher regarding cultural pride and racial prejudice. Guillermo Nazara shares his views on the show, to let us know if this marble-ous recount proves to have bust a gut.

We are slaves to our words. It’s a concept that doesn’t come as new to anyone. We all know somebody who, some way or another, has been haunted (and hunted) by what they said in the past. Yet, much as we might hold this principle as some infallible mantra, that doesn’t make it necessarily true. Yes, what we’ve once spoken about can come back some other time to bite us. But too often, it’s not the claims we make, but the meanings that others put into them, that bring up the turmoil we never intended for.

Azan Ahmed’s intimate play, Statues, makes a bold statement around that idea. A tale about a second-generation British-Pakistani teacher, whose return to his former school will him the most important lesson of and for his life, the play builds its core upon a strong set of themes – delivering an engaging, heartfelt recount dealing with the conflicts of a high-achieving man who, despite the love he professes towards his heritage, still finds himself conflicted when it comes to his cultural identity and the pride he shows for it.

Establishing a gripping and rather profound premise packed with opportunities for introspection and character development, Ahmed’s approach exploits part of its potential with thorough commitment. However, there’s a slight lack of complexity regarding both its topics and arcs – which, in the end, prevents the work from fully unfolding its rationale and, subsequently, the necessary individuality to make of it a stand-out piece.

Structured as a time-jumping narrative, where sung-through flashbacks help concoct the journey of the protagonist’s father (a wannabe rapper wishing to change the world through his anti-racist poetry), its generally well-executed pacing is nonetheless flawed through some of these numbers – occasionally feeling slightly overexpositional, aside from taking too much space in what’s already quite a condensed account, and thus compromising part of the personages’ psychological growth in front of the audience.

In any case, there’s praise to be made regarding the production values. Directed by Esme Allman, the montage features a compelling staging, starting with Cara Evans’s dynamic set design, but particularly thanks to Rachel Sampley’s intricately atmospheric lighting. Yet, the greatest addition comes from both Ahmed and Jonny Khan’s performances, flaunting absolute chemistry, as well as electrifying presence in their multi-role renditions – both of them exuding charm, naturalness and unforced charisma through the absorbing power of their much candid portrayals.

Walking the right steps towards a thought-provoking path, Statues drafts its journey with secure determination. Yet, it becomes too static when trying to untangle some of its subjects – able to assert its convictions with enough prowess, but finding difficulty in endowing it with sufficient elaboration to move beyond the archetypes it sculpts its plot upon. There’s emotional strength, and its philosophical undertone continues to beat all through its evolution, but there’s still a bit of room for a more chiseled exploration that brings full solidity to the jaunt it attempts to mold.

All pictures credit to  Harry Elletson.

Statues plays at London’s Bush Theatre until 9 November. Tickets are available on the following link.

By Guillermo Nazara