Photo courtesy of The Cultch
Generational isolation and a desire to engage the outside world are some of the major themes explored in a ground-breaking new play on show this September at The Cultch Theatre.
Playwright Nassim Soleimanpour was 29 years old in 2010 when he turned his energies to writing White Rabbit, Red Rabbit. His inspiration to create this play came from a reoccurring nightmare that lasted for years.
“I saw myself committing suicide on the stage in from of an audience that included my parents,” Soleimanpour says in an email interview with the Source Newspaper.
White Rabbit, Red Rabbit debuted in 2011 with simultaneous showings in Toronto and Edinburgh. The play has since gone global with rave reviews and is in Vancouver until Sept. 30 thanks to local, 38-year-old Israeli-born director, Itai Erdal. His theatre company, the Elbow Theatre Society, is behind the Vancouver production.
Itai Erdal.
Erdal came to Canada in 1999. Driven by a desire to contribute to society in a positive way, he left Israel following three years of service in the Israel Defense Forces. After more than two decades in Canada, Erdal’s ambition to be a positive force in the face of war hasn’t wavered.
“I am motivated somewhat by guilt,” he says. “I have a moral obligation now to contribute to society.”
Soleimanpour says Erdal contacted him by email last year after Erdal saw the Edinburgh Fringe Festival show. The two men have never met in person, but have corresponded on a few occasions.
Nassim Soleimanpour. Photos courtesy of The Elbow Theatre Society
“I haven’t seen most of my producers, presenters, audiences and even actors,” Soleimanpour says.
“I’m so happy that it’s being performed by great actors in Vancouver this September. I wish I could join you and see some of their performances.”
Erdal considers himself a staunch supporter of fighting injustice around the world and, as artistic director of The Elbow Theatre Society, says his team is focused on developing shows that question accepted truths. Soleimanpour agrees.
“The play takes a look at issues of obedience and manipulation and provokes us to redefine our definitions and borders in both in theatre and in our ordinary lives,” says Soleimanpour.
Soleimanpour lives a reality shared by many Iranians: a sense of isolation from the rest of the world, and according to Erdal, Soleimanpour’s work turns isolation into art by creating an arresting and utterly original play that requires no director, no rehearsals, and a different actor for every performance.
Soleimanpour is in Iran and Erdal’s intention to have him in Vancouver for the premiere of White Rabbit, Red Rabbit was thwarted by the Canadian government’s decision to cut all ties with Tehran.
“He hates that he cannot be here and leave [Iran] for the first time,” says Erdal. “In the past year, 30 different productions have been brought to the stage around the world and [Soleimanpour] hasn’t seen any of them live.”
This latest hiccup has only fuelled Erdal’s desire to put on plays like White Rabbit, Red Rabbit. After watching the Edinburgh production, he contacted Soleimanpour. One of the play’s unique selling points is audience participation. Attendees are encouraged to share their experiences with Soleimanpour in Iran.
“I was one of the first emails he received,” says Erdal. “[Soleimanpour] has created a play that is traveling around the world on his behalf. This play will not stop being produced and he’s excited about everything [happening] outside of Iran.”
***
White Rabbit, Red Rabbit runs at the Cultch Theatre until Sept. 30. Visit www.thecultch.com for more information.
