Review: Insane Asylum Seekers (Bush Theatre)

Review by Harry Bower

⭐️⭐️⭐️⭐️⭐️

Can generational trauma ever be funny? Can a one-person show ever advocate the full extent of the interconnected relationship between family history, mental health, identity politics, and war? Insane Asylum Seekers, a blistering one-man play at the Bush Theatre Studio, dares to answer both questions with a defiant, unapologetic yes. A show that begins like stand-up and ends in a stunned silence, this is a theatrical gut punch and one of the year’s most vital pieces of new writing.

The plot is rooted in the lived experiences of writer Laith Elzubaidi, whose (presumably) semi-autobiographical script blends storytelling with sharp satire to dissect identity, war, heritage, and OCD. Laith, born in the UK to Iraqi refugee parents, unpacks his fractured sense of belonging with a narrative that ricochets between dark family history, personal mental health struggles, and uncomfortable truths about Britain’s role in the Iraq war. There’s fury here, and rightfully so, but it’s filtered through a wit so disarming you’re laughing before you realise the significance of what was just said. At its core, it’s a story about surviving legacy - what you inherit, what you learn, and what you choose to carry forward.

Emily Ling Williams’ direction is exceptional. The Olivier-Award-nominated director finds rhythm in the chaos, momentum in monologue, and stillness where it counts. The pace is confident and clean, resisting the temptation to fill silence for fear of losing attention. Instead, those quiet moments are where the play sings loudest, allowing the tension to build, the humour to settle, the heartbreak to land. The staging is sparse but perfectly judged, keeping the focus locked on the performer while shaping the space around them.

Riwa Saab’s sound design is quietly magnificent. Textured, emotive, and always attuned to the tone of the room, it leaves your brain humming one minute and racing with anticipation the next. Projections are used sparingly but smartly, adding an extra layer of claustrophobia or provocation depending on what the story demands. The intimacy of the studio space amplifies everything; every breath, every tear is magnified tenfold, and it’s impossible to look away.

At the centre of it all is a breathtaking performance by Tommy Sim’aan. The sheer control he maintains over tone, tempo, and tension is extraordinary. He lands punchlines with the rhythm of a seasoned comic, then turns on a sixpence into something raw and broken. His embodiment of Laith is total and beautiful. He is vulnerable but never provokes pity, complex but utterly clear in his convictions. When he cries, the audience holds its breath. When he jokes, we’re right there with him, even when the jokes are shocking enough to cause a subsequent gasp. It’s a towering solo turn.

Insane Asylum Seekers isn’t just a play. It’s a statement. Bold, blistering, and deeply human, it challenges you to laugh at things you’re not sure are funny, then interrogates you as to why you laughed in the first place. It manages that special and rare thing, to be both funny and poignant without being self-indulgent. The nightly standing ovations are fully worthy. It’s theatre with teeth and heart in equal measure, and Laith Elzubaidi’s voice feels not only necessary but overdue. I’m going to be shouting about it to the rooftops. Don’t miss it!

Insane Asylum Seekers plays at The Bush Theatre Studio until Sunday 07 June 2025.

For more information and tickets visit: https://www.bushtheatre.co.uk/event/insane-asylum-seekers/ 

Photos by Alex Powell