Review by Izzy Tierney
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The phrase “practice makes perfect” is one usually said as a form of motivation for someone to keep trying until they succeed at whatever hobby it is they are learning, but often, putting in the work can be tiring and a bit boring. Maybe you've recently got into knitting but it takes you forever to complete a square, or you've started baking but your pies all have soggy bottoms and your cakes are too dry. Now imagine the activity you need to practice is grabbing your child and a few essentials and running for your life before a bomb destroys your home and kills you in five minutes time. That's exactly what Mariam is rehearsing in this intense, eye-opening production of A Knock On The Roof; a heartfelt play that tells the story of a woman's life in Gaza.
Following an increase of attacks from the Israeli Defence Force, panicked mother Mariam begins preparing herself for the inevitable knock on the roof - a small bomb used by the Israeli military as a warning that the building will be bombed imminently, giving residents five to fifteen minutes to evacuate. As the weeks go by, Mariam becomes obsessed with preparing and training herself for that knock so that she and her son have the best chance of survival. She works out exactly what she would take, packs and repacks the essentials until the weight is manageable, stuffs a pillowcase full of books equal to the weight of her son so she can practice running with them and times herself to see how far as she can run in the five minutes she has before the real bombing starts.
She imagines every possible scenario for when the knock may come - will she be in the shower? Will she be on the toilet? Will she be asleep? If it comes at night she must account for her son's grogginess as he's a deep sleeper. Her mother is older and slower now and the lift won't be an option as the electricity will be out, meaning they must run down seven flights of stairs just to reach the street. She makes them both train with her, role playing different scenarios and setting up obstacle courses around her house after she realises training outside may mean she misses the knock. As the explosions get closer, the urgency for Mariam to perfect her escape becomes more and more palpable until that knock on the roof finally arrives.
As the writer and sole performer of the show, Khawla Ibraheem consistently proves herself as both a talented playwright and actress, capturing the audience’s attention for the entire seventy-five minutes with an unstoppable stamina and tremendous stage presence. She beautifully embodies Mariam's multifaceted personality; shining as she speaks the words so authentically it's as if the audience is listening to the internal dialogue of a real person. She also portrays Mariam's loved ones, effortlessly switching to her son or her mother for the briefest of moments that manage to create relatable, three-dimensional people with depth and character, all helping to build the foundations of Mariam’s life. She is a woman driven solely by the love she has for her child; her need to protect him ever present. Ibraheem commands the stage so well that it wasn't until the lights went out that I realised how tense my body had become, and that I had been holding my breath through the final moments.
It's a spectacular performance, one that's impossible to separate from the script she lives and breathes. Whether it's heart-wrenching commentary on life in Gaza, an exploration into the traditions of Islam or the amusing exasperation of trying to raise a six year old; every word matters, every anecdote is thoughtfully constructed and every line is perfectly paced to create a sense of movement or stillness, allowing the audience to connect to the ongoing chaos or moments of peace. The momentum is complemented every step of the way with brilliantly designed lighting and music from Oona Curley and Rami Nakhleh, respectively, and faultless direction from Oliver Butler, who successfully ensures that Mariam and her only prop (a chair) move about the space in a natural, interesting way.
Though everything is meticulously written, there is room left for moments of audience interaction, showcasing Ibraheem's quick-wit and encouraging the audience to ask themselves questions such as what belongings they would take should they find themselves in Mariam's shoes. Ibraheem has great comedic timing when engaging with audience members, but also throughout the show, which is surprisingly funny given its topic. Mariam often makes jokes and sarcastic comments in a spot-on portrayal of using comedy to cope, managing to find humour amongst the horror and in doing so, emphasising what this play is truly about, because it isn't war.
It isn't about bombs or death or destruction. It's about people. It's about the love they have for their friends and families, their achievements and aspirations, their favourite books that sit upon their bookshelves next to the ones they've yet to read. It's about their love of the beach, their grief and regrets, their perfectly curated skincare routines and the universal joy felt at the smell of freshly baked bread. It’s about how they take their coffee, about their favourite mug, about the memories they've captured that hang in frames on the walls of their homes that will soon be nothing but dust and rubble. It's a reminder that in times of conflict, it's important to remember the people reduced to death toll numbers as the unique individuals they were - mothers, fathers, sons, daughters, partners, friends. A Knock On The Roof is more than just a play. It's a necessary, impactful glimpse into those living in besieged Gaza, and the devastating loss of so many innocent, loved human beings.
Given current events in the world, a play like A Knock On The Roof carries immense significance; bursting with heart and passion in spite of the grievous circumstances that inspired it. Khawla Ibraheem's gripping performance provides an immeasurably powerful and thought-provoking look into the situation and leaves you with the invaluable message that the safety to experience the mundane is a blessing.
A Knock On The Roof plays at Royal Court until 8th March. Tickets from www.royalcourtthatre.com
Photos by Alex Brenner