Writer: Khaled Hosseini
Adaptor: Ursula Rani Sarma
Director: Roxana Silbert
The irony of the title of this play – which has been adapted from the expansive novel by Khaled Hosseini – is surely that of all of those “splendid suns”, the one that rises and sets over the blighted country of Afghanistan, is far from splendid but is more likely to burn, scorch and cause misery. This faithful retelling of the story is set to stir powerful emotions and provoke fierce debates.
The play opens on a Simon Kenny’s evocative set, covered in middle eastern carpets with a raised geometric platform on which parents and their beloved daughter, Laila (Kerena Jagpal) are preparing to flee. This gentle group is loving and compassionate, recalling the missing brothers and hoping for a better life away from the shelling, until, all too soon, these hopes are exploded away and Laila is left alone.
Taken in by her neighbours Rasheed and Mariam (Jonas Khan and Rina Fatania), it seems that she has been rescued, but all too soon it becomes apparent that Rasheed’s intentions are not necessarily coming from a place of sympathy. Laila is told of her parents’ death in a manner so dead pan and without pity that it is jarring, but in turn she acknowledges the news in a way which is equally lacking in emotion. This provides perhaps the first point at which the audience is made aware of their own prejudices and cultural expectations – why are they so lacking in grief or compassion? Is it because they are inured to this kind of news? Is it scarcely unexpected? The provocation caused by such thoughts is the power of the piece.
Laila is taken by Rasheed as his second wife, much to the disgust of Mariam. Over the course of the play, Rasheed becomes increasingly brutal and aggressive whilst the bond between the two women strengthens and grows. The relationship between them is beautifully played out by Jagpal and Fatania – their mutual fear and loathing of their husband becoming a unifying force.
Set in Kabul across a quarter of a century, the conflicts which have disrupted life there are relentless and so too is the danger that pervades every moment of this play. The cast maintain a feverish pitch throughout which adds to its intense claustrophobia. Seen mostly through the veiled eyes of the women, life within the confines of the home seems no less fearful than the Taliban patrolled streets beyond.
Brief moments of light come in the guise of the Laila’s spirited daughter Aziza (Humera Syed) and then from her son, Zalmai (Noah Manzoor). Glimpses in the flash backs, of her friendship with Tariq (Jonny Khan) offer hope and suggestions of real human love, bringing some comfort.
There is no escaping that this is a harrowing piece of theatre – equally challenging to perform as to watch. At a time in world history when there are so many distractions from the current plight of the Afghani people and the women in particular, this story needs to be told if only to keep the conversation alive and to keep us angry at their abuse.
Adapting the novel, Ursula Rani Sarma has ensured that none of the most devastating moments are avoided and director Roxana Silbert has succeeded in letting the silenced voices shout their rage from beyond the confines of the bolted doors. The cast has made sure that those strong women are heard and we owe it to them to listen.
Runs until 14th June 2025