Review: Application 39 (Bristol Old Vic Weston Studio/UK Tour)

⭐⭐⭐⭐

Review by Seth Wilby

In the programme for Application 39, director Cressida Brown commends all the theatres involved in the UK tour for going against what she describes as the industry’s ‘political neutrality’. In her message of heartbreak within our living history, she justifies the production's existence as a small push for change within this sphere of influence, yet could this stirringly real thinkpiece of activism and storytelling go the distance and form a genuinely impressive and compelling piece of theatre?

Predominantly set in a speculative future, Application 39 imagines a world where two young IT workers accidentally (yet successfully) prompt Gaza City to host the 2048 Olympic Games. What follows is a journey that’s sometimes absurd, sometimes intriguing, yet always inherently and deeply moving, as we follow the organisation of this impossible task, flashing back to a time when none of this would’ve seemed possible and hoping for a day when it can bring recovery and renewal. 

It’s a narrative which seems impossible to pull off, yet writer Ahmed Masoud handles all its eccentricities with impeccable ease. A brilliant collage of satire, documentary, and pragmatism, Masoud’s tale intricately weaves humour and pain, yet it is the effortless sense of normality throughout which is the most remarkable. Sometimes exaggerated but never overdramatised, it would be an intriguing enough play without half the depth (who knew the logistics of Olympic Games planning could be so fascinatingly written), yet Masoud’s constantly nuanced layers of fragile sentiment, which haunt the narrative throughout, are what turn ripples into a genuine splash.

The future-facing format of the narrative allows for some hilarious throwaway gags on the state of the international landscape, used appropriately sparingly by Masoud, but it is in the play’s midsection (during a prolonged flashback sequence to our present-day) when the writing is most powerful. Rooted in lived testimony, Masoud’s depiction of the aftermath of a bombing for two nine-year-old neighbours felt heart-shatteringly truthful, forming one of the most emotionally powerful scenes I have witnessed in a theatre for a long time. Utilising simple childlike questions (“What happens when we die?”) as a painfully moving reminder of the world we live in now, not a detail is missed as Masoud depicts the aftermath through rousing description and haunting monologues that will stay with me for a very long time.

These scenes create a stark contrast to the messages of hope that, within our main narrative, braid themselves into the never-forgotten tragedy. This is most powerfully displayed in the ending, which, although admittedly underserved narratively, is a potent choice for a final sprint finish. Some minimal tightening wouldn’t go amiss- moments occasionally drag, and, at eighty minutes, the piece is ever so slightly overlong for what it wants to say. Even so, Masoud’s writing is remarkable in its aims and impact, and for the effortless way it combines witty satire and harrowing emotion.

Brown’s direction helps bring this intense power to life, harshly highlighting each heartbeat within Charlotte Espinar’s fierce-feeling set, dressed only with sand, children's-sized plastic chairs, and a dominant spotlight on every corner. Using this small space, Brown ingeniously creates unavoidably theatrical moments, utilising all the tools possible to ensure the production is one of unforgiving potency, particularly clear with her immensely effective use of a blackout which, extended for over a minute, harshly forces the audience to confront reality. This is just part of Imogen Clarke’s astounding lighting design, which ranges from filling the room with an illuminating orange glow to singling out moments with an excruciating spotlight.

This overarching story of hope within the true experiences of Palestinians is embodied by the tale of the two young friends who hack the Olympic bid process, Rayaan and Selma. Played with strong chemistry by James El-Sharawy and Sama Rantisi, their performances as nine-year-olds are devastatingly real, and, as young adults, deeply realistic. El-Sharawy has a brilliantly likeable charm and undeniably strong presence, including some particularly amusing scenes, and, although her performance is more of a slow-burn, Rantisi manages a performance of inherently emotional passion. In the small role of the President, Ghantus Wael introduces the play’s unexpectedly light style early on through some comical moments, although his character is not necessarily given enough time to develop into his final choices.

The final member of this ensemble cast is Nadia Dawber, who, as Vice-President Lamma, gives a stunning performance of a magnetic quality that captivates for the full runtime. Delivering Masoud’s words like they’re Shakespearean poetry, so much of her character’s history and experiences can be inferred from a single expression, and it is from Lamma herself that we are consistently reminded of the ongoing tragedy amongst our satire. A performer I will make sure to keep an eye on in the future, Dawber is a standout in this excellent production for the ease and intricacy of her contributions.

A tuneful melody of genres, Application 39 is not only a compelling piece of theatre, but an intricately woven, delicately layered piece of art. Harrowing, hopeful, and hilarious, this gold-medal-worthy storytelling employs harsh direction and lighting to create theatre that demands conversation, which the world will always need more of.

Application 39 plays at Bristol Old Vic until 26th September, and tours until 14th October. Dates and tickets from https://ett.org.uk/our-work/application-39/. 

Photos by Tommy Ga-Ken Wan