Review of ‘The Bridge’: “Palestinian play exposes major conflict but ultimately lacks one of its own”

Humour is subjective, but calling this performer a comedian might be a stretch. Yes, he makes jokes. And surprisingly, they are meant to be funny. Whether that goal is fulfilled or not is once again a matter of taste. If you’ve never heard jest before, you’ll probably say he’s hilarious. If you happen to be on the other side, odds are you will find him excruciatingly dull.

I don’t consider myself a Debbie Downer. Believe it or not, I try to engage with a show even when my brain threatens to shut down completely. This play hasn’t triggered that kind of reaction in me, though. Come to think of it, it hasn’t produced any whatsoever. But if it weren’t for its currently relevant premise, I would have severed all ties with it with zero chance of reconciliation.

Using humour to bond with audiences while exploring a difficult, highly sensitive topic is a brilliant idea. If implemented well, it can accentuate the drama and the narrative’s overall impact. The problem stems from Alaa Shedada’s limited wit and absolute lack of timing: if the writing is already painfully unamusing, his delivery only makes it sound worse.

The dramaturgy isn’t satisfactory either. But at least it has a pulse. Co-written by Sam Beale, the script depicts Aleen’s personal experiences within the Israel-Palestine conflict. Every year, he must travel from Jenin to Amman to hand his sister his mother’s gift of separation: a jug filled with olive oil from his grandfather’s plantation. But to do so, he must cross the Jordan Valley and face the Israeli authorities.

The concept brims with poignancy and thought-provoking qualities, which are somewhat present throughout the recount. But it isn’t enough. As much as we can appreciate how the play gives voice to arguably the most resonant war figure, the civilian population, it struggles to develop one of its own.

The writing oozes authenticity, to some degree, by drawing on the author’s own life. But generally, its execution is flawed. It conveys a sequence of events but not a character arc. In the end, it only provides exposition for a potentially moving story — one that’s yet to be made. Consequently, the pathos doesn’t solidify. And although some aspects of the piece are still haunting, that’s only because of the reality it portrays — and barely its own merits.

Some say good art needs to be challenging. And choosing this theme clearly fits that mould. But a promising start doesn’t mean anything; the remaining pieces in the puzzle are missing. Beyond the opportunity to watch someone who’s endured the hardships of an ongoing clash in the flesh (one that has divided the entire world like no other), the production demonstrates virtually no strengths. Without those additional features, no show can be considered a must-see.

The Bridge plays at London’s Bush Theatre until 11 November. Tickets are available on the following link.

By Guillermo Nazara