Charing Cross Theatre – until: 26th March 2022
Reviewed by Eli King
5*****
Based on the novel by Khalil Gibran, Broken Wings has been adapted to the stage by limitlessly talented duo Nadim Namaan and Dana Al Fardan. After a sold-out run at the Theatre Royal, Haymarket followed by shows in Lebanon, Dubai and Doha, this striking musical returns to London for a run at the Charing Cross theatre.
Even after the release and success of the concept album and worldwide shows, this production is the first fully staged version of the musical, breathing a whole new life into the masterpiece. Though the set isn’t complex, it’s simply spectacular. Gregor Donnelly’s set design paired with Nic Farman’s lighting is a sight to behold, bringing the story to life with the most exquisite surroundings.
Directed by Bronagh Lagan, this small cast of only ten people tells the story of love and loss, but also of hope. The story of Broken Wings is incredibly poignant, covering heavy topics like immigration, arranged marriages, death, child mortality and more, all whilst still seeming hopeful, showing that through hardship there can still be life and love.
With such a small cast, each individual performer has their moments to shine, even the smallest of parts have their sections in the limelight. Nadim Namaan as Khalil Gibran and Soophia Foroughi as Mother are no stranger to the well-deserved limelight, with their awe-inspiring vocals and a presence that commands the stage, it’s a true joy to watch them onstage together. For Noah Sinigaglia and Ayesha Patel, as Selma Karamy and Dima Bawab respectively, this is their professional stage debut and what a way to do it. Both women are utterly entrancing. Ayesha lights up the stage with her portrayal of loyal, loving friend Dema, illuding to her playful personality whilst belting out notes that seasoned professionals would struggle with.
Noah is a true show stopper, the way that she brings to life the character of Selma is mesmerising, giving her the sweet naivete of a sheltered child at the beginning and climbing to the tearful traumatised wife she transpires to be, as soon as she steps onstage it’s hard to take your eyes off her.
At the beginning of the show, we are introduced to a 40year old Khalil Gibran by Nadim Namaan who acts like a narrator throughout the production, detailing the story of his one true love Selma, and the torment he still endures through losing her. As the story unfolds, Lucca is tasked with accurately portraying the young Gibran and he does it perfectly. He gives Gibran the boyishly handsome charm, with words that would melt the coldest of hearts, whilst still being a strong man willing to fight for what he loves.
Opposing Sinigaglia is Lucca Chadwick-Patel as a sweet, talented and young Khalil Gibran, powered by love – and sometimes blinded by it.
Every single member of the cast deserves their own praise, they are all sensational. With Yasmeen Audi starring as Layla Bawab, Haroun Al Jeddal as Mansour Bey Galib, Johan Munir as Bishop Bulos Galib and Stephen Rahman-Hughes as Farris Karamy. It must be noted that Alex Kais normally performs as the ensemble, however for the first few performances Benjamin Armstrong stepped in to perform the role, including press night. For someone with very little notice, Benjamin slotted in with the cast seamlessly, even acting as a stage hand frequently as the set changed, he is a joy to watch and I hope his career continues to blossom.
With the stage having audience members on either side of it, the actors were tasked with making sure that both sections of audience felt included, and that they didn’t have their back to them at all times. The way that the staging was used and maneuvered was a stroke of genius, with characters often being side on, or constantly moving to make sure that everyone could see and get immersed in the storyline. Because of this, it would be interesting to see the show from either side and if it differs.
The set itself has a very neutral colour palette, lending itself perfectly to be transformed by the warm and cool tones of the lighting to set the tone and highlight pieces of interest – it was a very smart move for such a small stage.
Nadim is a natural storyteller, delivering such passionate monologues and breathtakingly beautiful belts, he acts as the backbone of Broken Wings, often lurking in the shadows or sat writing in the corner, as if he is writing the very story we are watching transpire.
The story of Broken Wings is something incredibly important, it tells the tale of a young man flitting from Beirut to Boston, trying to find somewhere to call his home and struggling with customs in either country. It acknowledges that hometowns are not perfect, but will always have a special place in your heart, it is your identity.
The representation onstage is inspiring and should be the norm. This is a story for POC, told by such a diverse cast, it’s mesemerising and it is clear to see how much it means to both the actors and the audience. This includes the authentic staging and beautiful costuming, each outfit is stunning in its own right, helping to differentiate class and status, yet still ensuring it represents the culture of Beirut. In this production there isn’t a wig in sight, there is only styling of the actors natural hair which is amazing to see the celebration of styles and texture – instead of covering it up.
The whole musical is an emotionally moving masterpiece, with the revolving stage pulling you into their whirlwind romance before spitting you out as harsh reality hits, barely recovering by the finale song.
Every single song embodies love and passion with endless rivers of talent, yet three still stick with me, calling our like sirens. ‘Til Death Reunites Us’, ‘Spirit of the Earth‘ and ‘Rescue Me are’ all incredible tear-jerking ballads that leave you breathless, yet wanting more. As Spirit of the Earth returns for the finale with a full cast, you can feel the drums in your chest and emotions filling the air, it’s truly breathtaking.
This story has so many layers of importance and meaning, it’s impossible to put it into words, but it’s essential that it be told.
