King’s Theatre, Edinburgh
Khaled Hosseini’s best-selling novel, set against the changing face of Afghanistan through the nineteen-seventies and beyond, gets an assured if slightly pedestrian adaptation by Matthew Spengler, who opts to use the same first person narration as the book. It’s a powerful and deeply affecting story about friendship and rivalry and how the events of childhood serve to shape the adult psyche.
David Ahmad takes the central role of Amir – and it must be a punishing performance, as he is involved in every single scene. This is the story of young Amir who lives with his father Baba (Emilio Doorgasingh) in a fine house in Afghanistan. It is also the story of the two servants who live and work in the household, Ali (Ezra Foroque Khan) and his son, Hassan (Jo Ben Ayed). Amir and Hassan are friends who play together every day, unmindful of the fact that they are on opposite sides of the Sunni/Shia divide. When the Taliban take control of the country, that divide causes incredible tensions – and when Amir witnesses an act of barbaric cruelty enacted on Hassan by some Sunni boys, he chooses to look the other way… something that in the fullness of time, he comes to bitterly regret.
The play is simply and effectively staged. I love the device of the giant kite-shaped screen that descends from time to time with images projected onto it and shadows swarming behind it. The scene where it is used to mask the story’s most heinous moment is a brilliant piece of theatre – making the event infinitely more horrible, simply because we do not see it. The imagination always paints the most terrible pictures.
I also love the presence of tabla player Hanif Khan on stage, his urgent rhythms serving to propel the story along at key moments. If some scenes occasionally feel a little exposition-heavy, this is perhaps an inevitable consequence of the narrative – but those who love the novel (and they are many) will surely appreciate how much care and attention has gone into adapting this for the stage.
The rapturous applause at the play’s conclusion is ample evidence of how much the audience in the packed auditorium enjoy this performance.