From 2 to 11 this month (May 2013) the Cultural Palaces Organisation held its 22nd Annual Theatre Clubs Festival at El-Samer space (a makeshift marquee theatre pitched on the derelict site of the demolished El-Samer theatre), bringing to Cairo what several selection committees appointed by the (...)
That the personal is political is an article of faith with radio, television and theatre writer Fatheya El-Assal. Her experience as a woman growing up in a repressive patriarchal culture that denied her all but the most elementary education – an experience she meticulously detailed in a 4-volume (...)
With nearly 30 plays to his credit (I know of 28, including a trilogy, but there may be more), Mohamed Abu El-‘Ela El-Salamouni (1941- ) ranks as the second most prolific writer in contemporary Egyptian theatre after Tawfiq El-Hakim. He wrote his first play, Hekaya min Leilat Al-Qadr (A Tale of the (...)
After a two-year suspension, the Egyptian National Theatre Festival made a turbulent comeback, whipping up a lot of controversy. On the opening night, on 27 March, 2013, significantly chosen to coincide with the annual World Theatre Day and the re-launch of the Egyptian Centre of the International (...)
The phenomenon of the writer/director that has dominated the theatre scene in Egypt since the mid 1980s, both in mainstream theatre and on the fringe, particularly among independent theatre-makers, can be traced back to the work of a few prominent figures in the history of the Egyptian theatre. It (...)
In 1948, Emmanuel Roblès (1914-95), a French writer of Spanish origin, born in Oran in Algeria, wrote a play called Montserrat, in which the eponymous hero, a young Spanish officer sent to Venezuela in 1812 to help capture Simón Bolívar, chooses to die the rather than reveal the hiding place of (...)
On 9 January, I found myself in Qatar, almost against my will. Though I was delighted to be invited by the board of the Arab Theatre Organisation to attend the fifth edition of their annual Arab Theatre Festival, talk about theatre in post-revolutionary Egypt and be among this year's honorees, I (...)
For the majority of artists in Egypt, 2012 ended on a doleful note, with great anxiety, even panic about the future and many, many regrets for all the past mistakes that have turned the 25 January revolution into something of a nightmare. Fled is the glorious dream and a grim reality weighs heavily (...)
The story of Teatro Eskendria inspires Nehad Selaiha with renewed hope for the future of a once cosmopolitan city
We are told to 'despair of nothing we would attain, as unwearied diligence our point would gain.' This is the moral; now for the story. One evening in Alexandria, many, many years ago, (...)
Nehad Selaiha hails the fourth Independent Theatre Season
Do you know the old song that says 'Going to One Wedding Brings on Another'? Well, it seems this dictum can also be true of some non-conjugal festivities. While the 38th annual Regional Theatre Festival of the Cultural Palaces Organisation (...)
Nehad Selaiha finds plenty of youthful energy and defiance in the 38th annual festival of regional theatre troupes
From fasting to feasting is the best way to describe the Cairo theatre scene in the weeks immediately following the holiday of Lesser Bairam at the end of the holy month of Ramadan. (...)
Nehad Selaiha watches the first fruit of a cooperation protocol between the State Theatre and Cultural Palaces organisations
So far, the 25 January revolution has effected no material change in the structure, organization, working methods, or funding policies of the public theatre sector. Nor was (...)
Nehad Selaiha marvels at the beauty, passion and political acumen of a new creation by an independent artist at Al-Hanager
For decades now, in fact since the early 1970s, the policy governing all state-run theatrical activities has been prominently characterized by wanton wastefulness. Leaving (...)
At the Creativity Centre, Nehad Selaiha finds solace but feels a pang
For months the theatre committee of the Supreme Council for Culture debated the future of theatre festivals in Egypt. Uppermost on its agenda was the Cairo International Festival for Experimental Theatre (CIFET), the last edition (...)
Nehad Selaiha reads a powerful political statement in a new dance theatre piece by Dalia El-Abd
The first round of presidential elections had left me with the anguish of a choice of evils: it was either the fire of Shafiq, a former general and, therefore, an extension of the military regime that (...)
Nehad Selaiha welcomes the Egyptian premiere of Dale Wasserman's stage adaptation of Ken Kesey's novel One Flew over the Cuckoo's Nest at the AUC and ponders the representation of mental institutions on the Egyptian stage.
Egyptian movies have featured scenes in mental hospitals since the late (...)
Nehad Selaiha applauds the timing, context, artistry and political implications of a student production of Wendy Wasserstein's Third by the drama group of the English department of Cairo University
Wendy Wasserstein's Third, by the Drama Group of the English Department Cultural Society of Cairo (...)
Nehad Selaiha ponders recent and past attack on theatre and draws hope from present activities
For months now, the so called 'Arab Spring' has been looking more and more like a harsh season of scorching, blinding sandstorms and thick clouds of poisonous vapours, blowing upon green valleys from the (...)
Nehad Selaiha finds topical resonance and lots of fun in a provincial production of Alberto Moravia's La Mascherata
Though rendered into Arabic from the original Italian by Saad Aradash (the late great Egyptian director and theatre scholar) in 1987, Alberto Moravia's La Mascherata (The Masquerade, (...)
Nehad Selaiha hails Lenin El-Ramly's Fi Baytena Shabah, currently at Miami theatre, as a potent antidote to theatrical depression
At last another stunning masterpiece by Lenin El-Ramly, one of the greatest Egyptian playwrights ever and the greatest living one. Indeed, in one respect, El-Ramly (...)
Nehad Selaiha is staggered by the correspondences between the Romanian and Egyptian revolutions in Caryl Churchill's Mad Forest: A Play from Romania at the AUC
At the Malak Gabr Arts Theater, in the AUC Centre for the Arts in New Cairo, the stage was lined on all sides with forbidding black walls. (...)
Nehad Selaiha hails the Egyptian premiere of Ben Elton's Gasping at Rawabet
When director Leila Saad kindly emailed to invite me to a performance of a play called Gasping by a playwright called Ben Elton I did not know what to expect or make of the title. I had not known of the existence of such a (...)
Nehad Selaiha mourns the passing away of a cherished place and dream
On 28 February, 2008, I wrote: "Over the years, Al-Hanager, under the direction of the indefatigable, enlightened and widely respected theatre academic and critic Hoda , has built a prestigious international reputation as a forum (...)
Nehad Selaiha remembers an ardent rebel who did not live to see 25 January
I had arranged with friends to go to Tahrir Square on New Year's Eve at 10 pm after dropping in at my mother's. On an impulse, however, I found myself driving to the Floating theatre in Giza at 8. Nothing spectacular was (...)
Nehad Selaiha gives a bird's eye view of the Egyptian theatre scene in 2011
Theatre has been active in the Egyptian revolution since its eruption on 25 January 2010. During the Tahrir Square 18-day long sit in, which brought Mubarak down, theatre artists made their presence very much felt. With (...)