Review: The Beekeeper of Aleppo (Richmond Theatre / UK Tour)

Review by Ruth Sealey

⭐️⭐️⭐️⭐️

I always marvel at how theatre can transport an audience to a different place and time, and my visit to the beautiful Richmond Theatre was going to test whether this production could take its audience across thousands of miles and multiple time periods, all within one setting. With a thought-provoking subject, which is sadly all too relevant today, the play places the plight of refugees, asylum seekers and displaced people firmly under the spotlight. Exploring themes of loss, grief and the devastating impact of war on the human spirit, the play takes its audience on a powerful emotional rollercoaster. Having read and loved the book of The Beekeeper of Aleppo, I was intrigued to see how such a vivid and layered story would translate to the stage.

Based on Christy Lefteri’s 2019 novel, the play first premiered at the Nottingham Playhouse in 2023 and follows beekeeper Nuri and his wife Afra as they flee war-torn Syria and travel across Europe to reach England. There are no spoilers here as the play starts with Nuri and Afra in England and then cleverly tells their story in a series of flashbacks. After suffering unimaginable loss, they face incredible hardship on their journey, and watching them navigate an immigration system that seems harsh and unsympathetic is not always comfortable. 

The stage adaptation by Nesrin Alrefaai and Matthew Spangler deserves high praise for staying true to the novel while handling its complex structure with remarkable skill. The audience is taken on an extraordinary journey, and the writing conveys the challenges and hardships in a way that never leaves you questioning when or where you are in Nuri and Afra’s story. Director Anthony Almeida has guided the production beautifully, weaving in moments of humour and dialogue that are vital in reminding the audience that the refugees are human, with lives and loves before’ the war, while never undermining the weight and seriousness of the story’s message.

Adam Sina as Nuri is simply outstanding, capturing such a wide range of emotions with apparent ease. We first see him in a field of bees in the opening scene, where humour and hope are conveyed through simple gestures. As the story unfolds, he moves seamlessly between these lighter moments with the raw grief of a father and the quiet devotion of a loving husband, all while maintaining a connection with the audience that draws us into his journey and makes every emotion feel deeply personal. As Nuri’s wife, Afra, Farah Saffari brings a quietly powerful presence to the stage. Her gentleness toward Nuri is understated, which makes her moments of frustration and anger at their circumstances all the more striking. The contrast in her performance highlights both her strength and vulnerability, adding a layered and compelling dimension to the story. Together, they are mesmerising to watch.

The strength of the entire cast is impressive, with Joseph Long, as Nuri’s cousin Mustafa and the Moroccan Man, particularly standing out. His opening, delivered as if speaking directly to the audience with the house lights softly on, was a moment of theatrical magic that lingers long after. The ensemble moves between roles with remarkable skill, and Princess Khumalo, who plays several characters, shines especially as Lucy Fisher and Angeliki, bringing clarity and depth to each role.

If I were to raise one issue I had with this production, I would question the decision to have an adult actor playing Mohammed and Sami, as at times the emotional impact of these moments felt slightly diminished. This is not to take anything away from the skill of the performer in the role, and I appreciate that adults playing children is an established theatrical device. However, in a story where these relationships are so pivotal, it did occasionally feel like a moment where the intended impact was lessened.

Ruby Pugh’s set design is brilliant—at once simple and complex—using a single set to convincingly represent multiple locations. Ben Ormerod’s lighting shifts seamlessly from the harshness of the immigration office to the warm sunlight of Syria, perfectly reflecting the contrasts between these spaces. Combined with Zsolt Balogh’s video projections and Tingying Dong’s sound design, this talented creative team brings to life more locations than I can recall seeing in a single production, immersing the audience fully in Nuri and Afra’s journey. The combination of set, sound and lighting are a wonder and changes in each, combined with projections of dates and locations, ensures that even those unfamiliar with the story are able to follow a non-linear narrative easily.

An audience cannot fail to be moved by this play—and nor should we be. Our media is filled with the plight of millions of refugees around the world, yet it is easy to forget that behind the statistics are individuals with their own stories, losses, heartaches, and hopes. This production reminds us of those personal stories and invites the audience to reflect. As Mustafa says, “It scares me how life can go one way or another,” a reminder of how quickly life for any of us could be upended. The play is beautiful, uncomfortable, and challenging and carries a message that demands to be heard.

The Beekeeper of Aleppo plays at Richmond Theatre until 14^th March as part of its UK tour. Tickets available here

Photos by Manuel Harlan