Interview with Iranian/Australian Writer & Actor Osamah Sami by Kyriaki Maragozidis. Originally broadcast 13/6/16 Live to Air on Voiceprint Arts, Three D Radio 93.7fm in South Australia.
To purchase tickets for Sydney show on August 3rd click here.
theatre
In Daily Review: Fine theatre well worth watching!
“Tales of a City by the Sea’ is a perceptive story that magnificently captures the drama of star-crossed lovers in the besieged Gaza strip.”
Stephen Davenport
In Daily – Adelaide’s independent news
This is wide-eyed saga of everyday Palestinians struggling to survive and find normality, hope and love in a region affected by hostility. It is an oddly poetic tale, whose complexity and subtleties of differing narrative viewpoint are maintained by axioms, a strong multi-cultural ensemble and superb lead performances.
Samah Sabawi’s script has received widespread acclaim for its insight into Palestinian life. The playwright’s remarkable sensitivity and artistry confers enormous authority on this portrayal of a beleaguered people.
The play focuses on Jomana (Helena Sawires), a Palestinian woman living in a refugee camp, and depicts life under the Israeli bombardment and siege. She is chaperone to her cousin Lama (Emina Ashman), who is unhappily engaged to Ali (Reece Vella).
When Rami (Osamah Sami), an American-born Palestinian doctor, arrives on the “Free Gaza” boats in August 2008, he and Jomana fall in love. When it is time to leave, Rami promises to sell his clinic in America and return to Jomana and his ancestral homeland.
The play gives us a prophetic flavour of the way people can culturally, politically, ideologically and physically be separated. There are sharp, pertinent scenes in which the lovers speak over Skype and renew their promises. But will the pair live happily ever after?
This play stands or falls by its love affair between the thoroughly decent Texan doctor, Rami, and the poetically romantic Jomana. And this love affair has all the passion of desperate people in desperate times and precarious situations. Sawires is well cast; she puts presence into every scene and bounces well off Sami, who brilliantly portrays an American caught between multiple loyalties. Read more…
Weekend Note Review: a poetic story of resilience
by Julia Wakefield
Following its sold out premiere Melbourne season in 2014, Tales of a City by the Sea opened at The Bakehouse Theatre this week. The author is Palestinian/Australian/Canadian writer Samah Sabawi. She describes her work as ‘a poetic journey into the ordinary lives of people living in abnormal circumstances and their struggle to survive’.
The play grew out of a collection of poetry that Sabawi wrote while she was in Gaza during the three week bombardment of 2008/2009, prompted by her own experiences and those of her friends and family. She says she is not trying to put across a political message. Although this is a story based on real life events that took place during Israel’s assault on Gaza in 2008, its main purpose is to highlight the resilience and compassion that people display in such dire circumstances. In this current era of global conflict and confusion, there are many places featured in news bulletins that are enduring similar situations. Sabawi wants us to see ‘the detail of daily lives of people they see for brief seconds on the news’.
The play was originally directed by Lech Mackiewicz, and the current director is Wahibe Moussa. When it opened in Melbourne the plan was to have two simultaneous performances on the West Bank and in Gaza. The play was performed on the West Bank a week later; the script has been read in Gaza but as yet there has been no opportunity to perform the play there.
In the main characters of the play, Jomana and Rami, we see another theme: the gulf between the Palestinian diaspora (those whose families escaped from Gaza and who have grown up in an affluent, privileged society), and the same generation who remain trapped in Gaza. Jomana lives in Gaza, Rami is a doctor raised in Texas by refugee Palestinian parents. They are in love, but in order to enter each other’s world they have no choice but to abandon their families and the reality they grew up in.
The play ideally suits the intimate atmosphere of the Bakehouse Theatre. Scenes are evoked with the simplest of props, and Sabawi’s poetry slips seamlessly into the characters’ dialogue, serving to highlight emotional moments. In some places it appears as a passionate soliloquy, as in Rami’s heart rending speech “what price a life?” But it is also there in the play’s frequent humorous moments, such as the Dr Zeuss style banter that Rami exchanges with his mother. This reference to a familiar Western poetic style serves to emphasize the gap between Rami’s and Jomana’s upbringing. We realise that Rami, in spite of his heritage, has more experience in common with the audience than he has with Jomana. The contrast is cleverly portrayed in a particularly riveting scene where Jomana is conversing with her father in Gaza, while Rami is simultaneously speaking to his mother in Texas, on either side of a dining table.. Read more
Interview with Samah Sabawi “This Palestinian did not stand alone”
Samah Sabawi talks to Radio Adelaide about the play, the controversy, the overwhelming support and on being a Palestinian Australian writer.
The Barefoot Review: a poetically beautiful discerning and honest examination of life in Gaza
David O’Brien
The Barefoot Review
Where there is a wall, there is also a city its inhabitants call home in the sacred and emotional way expected of communities deeply attached to their history and culture; especially those coping with just over half a century of war in all its guises and forms, greater or lesser, challenging their right to exist.
Samah Sabawi’s Tales of a City by The Sea is poetically beautiful, discerning and honest in its examination of life in Gaza.
No angry, politicised, locked in sensationalism to be found here, despite what has been said of this work during 2016. Sabawi’s play is an astutely balanced, modern appraisal of what it means to live as a Palestinian under siege. Read more…
Adelaide Theatre Guide Review: A gripping piece of theatre that begs to be seen and heard
Tony Busch
Adelaide Theatre Guide
June 11, 2016
This is a tale of conflict and survival told principally through the stories of two couples during the 2008 Gaza war.
Jomana (Helen Sawires) is a Palestinian journalist in Gaza who meets American born Palestinian doctor, Rami, (Osamah Sami) who arrives on board one of small boats that breaks the Israeli blockade.
Ali (Reece Vella) and Lama (Emina Ashman) are residents of Gaza. He loves her but she’s unsure whether to marry him or not.
The play traces the development of these two relationships amid the death and destruction that is everyday life in Gaza.
Samah Sabawi has created a potent narrative that brims with raw examples of the reality of living under a hostile authority. She explores relationships and family values in a place where people fight to retain some sense of normality amid the daily death toll; where “funerals and weddings have become part of daily life”. Read more
Interview Samah Sabawi on Radio Adelaide
Samah Sabawi, writer of Tales of a City by the Sea, has written a play that delves into the lives of people in Gaza. The production was assembled by a very culturally diverse team which focuses on the challenges of life and confronting barriers.
“Theatre needs to make you think. It should not brainwash you… if it makes you uncomfortable then that’s good, that’s really good theatre,” she said.
Tales of a City by the Sea will be at the Bakehouse Theatre from the 8th till the 18th of June.
To book tickets, head to www.bakehousetheatre.com
Image sourced by: The Bakehouse Theatre
Opinion: Vision of everyday life in Palestine too bleak for some
The Age June 2, 2016
Samah Sabawi
“Our story resonates with refugees, ethnic minorities, asylum seekers and immigrants, who after each performance feel the need to thank us for finally reflecting their lives on stage, telling stories of how humanity can survive in times of adversity and war and producing theatre that matters to them. The voiceless. The marginalised.”
My play Tales of a City by the Sea sold out its 2014 and 2016 seasons to standing ovations by many, including people from a Jewish background. Despite this overwhelming support, a small yet vocal group hit the panic button when the play was selected for the VCE drama curriculum.
It seems that I, the writer, missed the memo that I can’t write an artistic piece about Palestinian life without inserting Israel’s point of view into my art. This is wrong on so many levels.
Most alarming was the false accusation by the B’nai B’rith organisation that the play “peddles classic anti-semitic themes” (ABC radio, May 27). For the record, the play does not mention Jews, Judaism, the Jewish people or have any Jewish characters. This false allegation insults me as the author of this play as well as others including the cast and crew, La Mama theatre, the VCAA, the Australian Jewish Democratic Society as well as any one else who supported, attended, applauded and worked on this production.
I believe B’nai B’rith must apologise unequivocally to all of us. Anti-Semitism must always be taken seriously. False claims of anti-Semitism used to drive political agendas only trivialise and undermine our fight and resolve to eradicate it and other forms of racism.
Some criticised the play for not including Israeli voices. The reality is the only times Israeli voices are heard in Gaza is when an Israeli soldier phones a Palestinian family and orders them to leave their house before it is bombed, over a megaphone if a Palestinian boat gets too close to the forbidden line in the sea, or when a Palestinian walks too close to the fence that surrounds Gaza and Israeli soldiers shout at them from the surveillance towers to turn back.
The sad reality is that there are no human interactions between Palestinians in Gaza and Israelis outside of this paradigm. Palestinians know the Israelis are there all the time, surveying them with drones in the sky, cameras on the walls and towers and naval gunships at sea. Had Israeli voices been included, this would have been the realistic depiction as experienced by Gazans. But they were not included because all of this was irrelevant to the play.
What the critics don’t seem to grasp is this play is not about the Palestine/Israel conflict. Ordinary Palestinian life in Gaza does not revolve around political discussion. It is consumed with the daily battle for survival.
The two Palestinians falling in love in this play argue over where to live, what choices to make and the cultural differences between those who have left and those who have remained. The husband and wife in this play argue over how to make the water, a precious and increasingly scarce resource in Gaza, last longer.
Inserting a conversation about Hamas rockets and the Israeli army’s point of view would have seemed unnatural and out of place in the context of daily lives. The play touches only briefly on politics to the extent that it mixes with daily life, for example when characters complain about Hamas’ restrictions on civil liberties or when a fisherman recalls his encounter with Israeli naval ships at sea.
I spent the last two years researching with my Jewish Canadian co-editor Stephen Orlov the subject of Jewish and Palestinian plays as we gathered material for our soon-to-be-published anthology Double Exposure: Plays of the Jewish Palestinian Diasporas (Canada Playwrights Press). The more we researched the more we noted the scarcity of Palestinian plays actually produced in western theatres. Here in Australia, I can’t think of a staged play that had one Palestinian character or was written by a Palestinian.
It is perhaps for this reason, and for the fact that culturally diverse groups in general are under-represented on the mainstream stage, that Tales of a City by the Sea is received with such enthusiasm. Our audience is as diverse as our cast. Our story resonates with refugees, ethnic minorities, asylum seekers and immigrants, who after each performance feel the need to thank us for finally reflecting their lives on stage, telling stories of how humanity can survive in times of adversity and war and producing theatre that matters to them. The voiceless. The marginalised.
Tales of a City by the Sea is a quintessential human story of survival and hope, and its events could have taken place anywhere there is war, bombardment and siege. But because it is set in Gaza and told by Palestinians, the play triggered this hyperbole of fear-mongering and racist reactions from those who refuse to see Palestinians as human beings. The problem with this play is not that it may dehumanise Israelis – it does not. The problem is it humanises the Palestinians. Apparently, for some, this is too much to handle.
Samah Sabawi is a Melbourne-based commentator, poet, author and playwright.
This oped was first published in The Age on June 2, 2016. Original article at this link http://www.theage.com.au/comment/vision-of-everyday-life-in-palestine-too-bleak-for-some-20160602-gp9tmc.html#ixzz4AYRFxmci
Stage Whispers Review: This is a work that all creative artists, cast and La Mama should feel great pride in bringing to a Melbourne audience
By Suzanne Sandow
An excellent ensemble of multicultural performers work closely collectively to draw together and express the story of star crossed lovers who are both, perhaps a little surprisingly, Palestinian.
He is a doctor who runs a medical clinic in the USA and she a journalist who was born and raised in the Shanti (beach) Refugee Camp in Gaza. He comes and goes into this volatile site of the bitter struggle of the siege of Gaza that took place in 2008. They are just like young lovers from anywhere and any culture.
It is not a story of conflict, of brutal ingrained enmity between Israeli and Palestinian but a story of romantic love with a backdrop of engrained enmity that’s conflict extends into every nook and cranny of life.
This poetic production is framed with the glorious haunting Arabic songs sung by Aseel Tayah who is dressed in traditional costume. And staged on a set (Lara Week) of curtains (apparently made of sheets) that allow for a flow of expressive imagery and the creation of potentially unlimited environments. The sea is a very strong motif as emphasized through sound as designed by Khaled Sabsabi.
As a piece of theatre it has an engaging and engrossing through its linear narrative and all performances honor the writing that is glistening poetry at times.
Generous nurturing direction by debuting director Wahibe Moussa, with an emphasis on emotional sincerity that is at times frustratingly static, supports the poetic nature of Samah Sabawi’s writing and endorses clarity. Perhaps with some more time, inventive and adventurous, risks in staging could have been played with and incorporated.
This is a work that all creative artists, cast and La Mama should feel great pride in bringing to a Melbourne audience.
http://www.stagewhispers.com.au/reviews/tales-city-sea
Taag Review: This work is ‘invaluable, deserving perhaps more than other works currently being staged in Melbourne’
It’s the quality of story presented here, or perhaps the resonance it holds that truly defines this performance. Set amidst the conflict in Gaza, a world that for many Australians would seem far away, but through focusing on the individual stories, it somehow brings these two counter realties within three degrees of separation, driving home a message of our universal need for love, safety and home. Read more
Sabawi and Moussa speak theatre and controversy on SmartArts 3RRR
“It is very rare that independent theatre is talked about in the Victorian Parliament”
Tales of a City by the Sea with Michael Cathcart on RN
In Samah Sabawi’s play, Tales of a City by the Sea, lovers struggle to stay together in war-torn Gaza.
To buy tickets or purchase the script click here
إستمعو إلى مقطع من مسرحيه حكايات مدينة على البحر تليه مقابلة مع أسامة سامي وهيلانة ساويرس ابطال المسرحية
Now available in paperback Tales of a City by the Sea
If only our bodies were bulletproof
If only our boats were made of steel
If only our dreams were real.
Gaza, 2008.
A Palestinian journalist writes poetry on the beach.
A doctor must decide to stay or leave.
Then come the missiles and the phosphorus showers.This is a furious and tender exploration of the fragility of freedom. The national collides with the personal as activism and reporting take to the stage. Tales of a City by the Sea uses poetry, tenderness and humour to explore the love between those who have choices, and those who do not. Language fails us when it comes to displacement and grief; yet Samah Sabawi’s language cracks grief open and remains present, like the sea.
Tales of a City by the Sea was staged twice in 2014: at La Mama Theatre in Melbourne and at the Aida refugee camp in Palestine.
Click on the image to purchase the book
Allow us to introduce ourselves! The Tales of a City by the Sea 2016 creative team
We come from diverse backgrounds including Egypt, Iraq, Iran, Lebanon, Palestine, Malta, Malaysia, Thailand, Italy, Bengal, India, Chile and the UK. We have people of various faiths including the Muslim, Jewish and Christian faiths. Our play is a celebration of the power of inclusivity and a testimony to breaking down cultural and racial barriers!
Writer Samah Sabawi
Samah Sabawi is a Palestinian Australian Canadian playwright, commentator and poet. Her plays Cries From The Land and Three Wishes had successful runs in Canada; Tales Of A City By The Sea enjoyed a sold-out season at La Mama in 2014 and an Arabic premiere at Alrowwad’s Cultural Theater Society in Palestine, and was selected for the 2016 VCE Drama Playlist. Sabawi’s poems feature in WITH OUR EYES WIDE OPEN (West End Press 2014), GAZA UNSILENCED (Just World Books 2015) and I REMEMBER MY NAME (Novum Publishing 2016). She is co-editor of DOUBLE EXPOSURE: Plays of the Jewish and Palestinian Diasporas (Playwrights Canada Press 2016).
Original Direction Lech Mackiewicz
Lech Mackiewicz is a Polish director, playwright, and actor. He formed Auto Da Fe Theatre Company in Sydney in 1987. He specialises in creating intercultural collaborative performance, having directed theatre in Poland, Japan, China, Korea, and Australia. Lech’s directing credits include: Felliniana (Belvoir St Theatre); King Lear (Playbox Theatre); Kafka Tanczy (Teatr Zydowski); Beckett in Circles (Suzuki Company of Toga); An Oak Tree (Teatr Wegierki); The Hour Before My Brother Dies (Teatr Jaracza); and Everyman and the Pole Dancers (Metanoia Theatre). He is a graduate of the National Academy of Theatrical Arts (PWST) in Cracow, and the University of Technology Sydney.
2016 Remount Direction Wahibe Moussa
Wahibe Moussa is an award-winning performance maker, and writer. In 2007, Wahibe received the Green Room Award for her role as “Mahala” in Theatre @ Risk’s production of Tony Kushner’s Homebody/Kabul. In 2014 she was one of ten dramaturgy interns at Melbourne Theatre Company, a Playwriting Australia Fellowship initiative. Wahibe’s practice is informed by her own experiences as a migrant child, her collaborations with Refugee Artists, and a commitment to understanding Indigenous performance and story making practices. This is Wahibe’s directorial debut.
Producer and Set Design Lara Week
Lara Week is a designer for performance and creative producer. Her design credits include: NaGL: Not a Good Look (Metanoia Theatre), Between Heaven and Her (La Mama Theatre), and The Conference of the Birds (Centre for Cultural Partnerships). Since 2011, she has been associate producer for Tribal Soul Arts, producing decolonial arts programs and performances in Africa, Europe, and Australia. She is dedicated to creating spaces where people with different skills and perspectives can share ideas and produce work together.
Lighting Design Shane Grant
Shane Grant has been Audio Visual Technician for St Kevin’s College for the past nine years. Previously, he was Production Manager with Strange Fruit and Technical Manager at Gasworks Theatre. Shane is an accomplished lighting designer having worked extensively with companies like Ranters Theatre, The Torch Project, NYID, La Mama and many others. Shane has a BA Dramatic Arts (Production) VCA from 1994. He sits on the Green Room Awards Association Theatre Companies Panel. Shane is currently an artistic director at Metanoia Theatre and the Technical Manager of the Mechanics Institute theatre in Brunswick.
Sound Design Khaled Sabsabi
Khaled Sabsabi works across art mediums, geographical borders and cultures to create immersive and engaging media based experiences. He is a socially-engaged artist who specialises in multimedia and site-specific installations that often involve people on the margins of society. Khaled has worked in detention centres, schools, prisons, refugee camps, settlements, hospitals and youth centres, in the Australian and broader international context. Khaled makes work that is in continual transfer from the physical to the philosophical, to interconnect the interrelatedness and cycles of life.
Sound Mixer Max Schollar-Root
From his roots in The Australian Theatre for Young People and the NSW Performing Arts Unit State Drama Ensemble, Max Schollar-Root found his passion in musical performance and composition while studying at the Sydney Conservatorium of Music. He works as a band leader with Ungus Ungus Ungus, a theatrical and multi-modal performance project combining live music, technology, and dance, presenting nationally at large-scale festivals. As a Registered Music Therapist trained at The Melbourne Conservatorium of Music he runs early childhood music programs and works with adults with intellectual disabilities.
Production/Stage Manager Hayley Fox
Hayley Fox gained a Bachelor of Creative Industries majoring in Theatre at QUT (2005) and a Master of Arts in Writing at Swinburne University (2010). Her most recent stage management credits include: Werther and The Spanish Hour with the Lyric Opera of Melbourne; The Road to Woodstock and An Evening with Sarah Vaughan for Neil Cole; Diva Power Regional Tour for Arts Events Australia; Wuthering Heights with the Australian Shakespeare Company; and In Between Two at the Sydney Festival for Performance4a.
Assistant Stage Manager James Crafti
James Crafti is excited to be working on Tales of a City by the Sea as it combines two of his passions: theatre and Palestine. On the former James has directed a variety of plays such as Mutha, The Deserters, Rope, Creationism and Seven Jewish Children. He was also an assistant director on Yet to Ascertain the Nature of the Crime. James has also been an organiser with Campaign Against Israeli Apartheid, Australians for Justice and Peace in Palestine and Jews Against Israeli Apartheid.
Producer Daniel Clarke
Daniel Clarke has worked in Australia, the UK and US as a theatre director, producer and artistic director. He is has recently taken on the role of Programmer, Performing Arts at Arts Centre Melbourne, after five fulfilling years as CEO and Creative Producer of Theatre Works, St Kilda. Daniel was the Artistic Director of Feast in 2007 and 2008, winning the prestigious Arts SA Ruby Award for Community Impact. He has also worked for Leicester Haymarket Theatre Company as Creative Producer/Associate Artist and was awarded the 2015 Sidney Myer Performing Arts Award Facilitators Prize.
Helana Sawires – Jomana
From a large, creative Egyptian family, Helana Sawires has always lived within the realm of the arts. Early on Helana developed a love for percussion, very much influenced by her father. Since graduating from Newtown High School of the Performing Arts (2011), Helana’s projects include: Short and Sweet Theatre Festival; Banana Boy (upcoming short); and W.O.W Casula Kid’s Festival (storyteller/drumming workshop). Helana landed her first major film role in 2015 in Ali’s Wedding (Matchbox Pictures). She was accepted into the Stella Adler Studio of Acting in NYC (2014), completing a Chekhov Intensive Course, which further influenced her unique expression across all forms of art.
Osamah Sami – Rami
Osamah Sami is a failed cricketer and a struggling Muslim. His memoir Good Muslim Boy was Highly Commended at the Victorian Premiere’s Literary Awards. He also co-wrote Ali’s Wedding, Australia’s first Muslim Rom-Com, and co-created the Web Series Two Refugees and a Blonde. Lead roles in films include Ali’s Wedding, Journey, 10 Terrorists! and Saved. TV roles include: Kick, East West 101, Rush, Sea Patrol, City Homicide and Jack Irish. He has performed at Belvoir St, MTC, La Mama and a dozen independent houses. His role as “Amor” in MTC’s I Call My Brothers earned him a Green Room nomination for Best Lead Actor.
Emina Ashman – Lama
Emina is a Malaysian born actor, dancer and theatre-maker. Before relocating to Australia (2012), her theatre credits in Kuala Lumpur include Beasts and Beauties, Lysistrata and Fragments. As a 2014 VCA graduate, her credits include Agamemnon, The Three Sisters, The Little Prince and Plus Sign Attached (with Living Positive Victoria). Emina played “Julie Bishop” in Lucky Country (Melbourne Fringe 2014). Last year, she read the role of “Christine” in Michele Lee’s Moths for MTC. She also played “Antonia D’Agostino” in the sell-out season of Adam Cass’s Bock Kills Her Father (La Mama, Melbourne Fringe 2015). She has recently completed a diploma in creative writing, specialising in writing for performance and poetry.
Reece Vella – Ali
Reece Vella graduated from The Actors College of Theatre and Television in Sydney (2010) and has been acting professionally for the past six years. Check out his Star now if you are into name-dropping. He harbours a passion for new, eccentric and challenging work. Since moving to Melbourne, Reece’s stage credits include: Everyman and The Pole Dancers; Tales of a City by the Sea; Between Heaven and Her; and most recently Night Sings Its Songs. Reece is elated and moved that a remount of Tales of a City by the Sea has taken life, confirming his everlasting hope in stories of humanity.
Alex Pinder – Abu Ahmed
Alex Pinder works as an actor and theatre director. Recent credits at La Mama include performing in Waiting For Godot (as “Lucky”) and In the Middle of the Night and Other Stories, and directing Buzo’s Norm and Ahmed. Other work includes directing a reading of In The Day I left Home by Raahma N Kalsie, for MTC NEON 2015 and MTC Cybec 2016, playing “Page” in The Merry Wives of Windsor at 45 Downstairs and Perth’s Fortune Theatre, and “Howard” in The Dead Twin.
Rebecca Morton – Samira
Rebecca Morton has been singing and acting all around Australia for longer than she cares to admit, from opera to music theatre to Shakespeare and Noel Coward with state theatre companies. She writes and tours highly portable, one act music theatre shows, and recently joined Alchemy 7, a group of artists who create a fusion of sculpture and song. She is also working with a new company, RAPt, which connects people through theatre. She is absolutely delighted and proud to be part of this very exciting and important play.
Cara Whitehouse – Multiple Roles
Classically trained, Cara Whitehouse has played roles in children’s puppetry to the Greeks, working in Melbourne and Singapore. Recent work includes Tales of a City by the Sea (La Mama 2014), Remember M with innātum Theatre, The Woman in the Window, and “Elektra” in The Oresteia. Cara’s film work includes multiple shorts with a web series in development. A certified Fitzmaurice Voicework teacher, Cara’s training encompasses Conservatory Actor training at Lasalle College of the Arts Singapore, Knight-Thompson speech work (NYC) and continued training at the Howard Fine Acting Studio.
Aseel Tayah – Singer
Aseel Tayah is a creative director, art producer and installation artist. She has been part of number of theatre productions at the Malthouse, Platform, La Mama, Polyglot and Metanoia Theatres, together with her own art works that have been displayed prominently in Palestine and Australia. She travels around the world to discover, photograph and be inspired by people’s cultures and histories. She creates interactive experiences that invite audiences to participate through her design of space, and the presence of her body and voice.
Ubaldino Mantelli – Multiple Roles
Ubaldino was in the 2014 Melbourne premiere of Tales of a City by the Sea at La Mama. He’s played major theatrical roles in the Geelong region, including performing for the National Trust and in the ensemble-devised Daylight Savings, led by James Pratt. Ubaldino trained under Kerreen Ely-Harper, Stephen Costan, Jenny Lovell, Danielle Carter, Karen Davitt and Nicky Fearn in the VCA Acting Studio 12. He’s been a producer, presenter and performer on community radio. In 2016, Ubaldino can be seen in James Burke’s short film, Sick Home.
Poster Design and Cover Art by Ahmad Sabra and Aya El-Zinati.
To buy tickets:
Melbourne: The show will be staged at the La Mama Courthouse theatre between May 11 – May 29th. La Mama Theatre is nationally and internationally acknowledged as a crucible for cutting edge, contemporary theatre since 1967. The Courthouse is located on 349 Drummond St, Carlton. Click here to purchase tickets for Melbourne shows.
Adelaide: The show will be staged at The Bakehouse Theatre June 8th to June 18th – June 18th. The Bakehouse is a charming, intimate live theatre at 255 Angas Street, near the east end (Hutt Street). Click here to purchase tickets for Adelaide shows.
Sydney: The show will run at the Casula Powerhouse Arts Centre on 1 Powerhouse Road, Casula. There will only be two performances scheduled for August 3rd. Click here to purchase tickets for Sydney shows.
Tickets now available for Gaza love story Tales of a City by the Sea’s Melbourne Sydney and Adelaide performances
“…this gripping play is an act of resistance that implores its audience to take heed.” Rebecca Harkins-Cross, The Age
“This is a fantastically told story of two worlds colliding.” Mary Hughes, The Music
“In the season that we did last year, I don’t think there was an empty seat in the house. We were inundated here with people saying how important the work was, how moved they were by it.” Liz Jones, Artistic Director and CEO of La Mama Theatre.
Melbourne: The show will be staged at the La Mama Courthouse theatre between May 11 – May 29th. La Mama Theatre is nationally and internationally acknowledged as a crucible for cutting edge, contemporary theatre since 1967. The Courthouse is located on 349 Drummond St, Carlton. Please note all Melbourne shows have now sold out.
Adelaide: The show will be staged at The Bakehouse Theatre June 8th to June 18th – June 18th. The Bakehouse is a charming, intimate live theatre at 255 Angas Street, near the east end (Hutt Street). Click here to purchase tickets for Adelaide shows.
Sydney: The show will run at the Casula Powerhouse Arts Centre on 1 Powerhouse Road, Casula. There will only be two performances scheduled for August 3rd. Click here to purchase tickets for Sydney shows.
Congratulations! Play set in Gaza selected for 2016 VCE Drama List
Congratulations to all of us! Palestinian play highlighting challenges of life in Gaza during the war of 2008-2009 has been selected for the 2016 Victorian Certificate of Education Drama list. The play Tales of a City by the Sea by Palestinian Australian playwright Samah Sabawi was one of 16 of more than 50 submissions selected for the 3 VCE Playlists. As a result, it will be seen and studied by hundreds of year 11 & 12 Theatre students in Victoria and it will be published by Currency Press and disseminated among these students.
This is groundbreaking to say the least! But to be able to produce the play next year so students can watch it, we need your help. So please come and join us on November 22nd and celebrate with us this wonderful news and help us raise funds for next year’s production and for our national tour so we can present this important piece of work not only in Melbourne but in other Australian cities.
The fundraiser will be held on November 22 at 6:00pm on the rooftop of Arcadia Hotel , 2 Toorak Road, South Yarra.
Tickets are $45.00
For more information or to buy tickets please follow this link
Staging Palestinian love story in six Australian cities: Launching Tales of a City by the Sea 2016 national tour fundraising drive
Woven together from the actual experiences of people living under occupation, Tales of a City by the Sea is a journey into the lives of ordinary people in the besieged Gaza Strip. Jomana, a Palestinian woman living in a Gaza refugee camp, falls in love with Rami, an American-born Palestinian doctor and activist who has just arrived on one of the first Free Gaza boats in 2008. Their love is met with a relentless string of challenges. Ultimately, Rami must decide between returning to his comfortable life in Texas and staying in Palestine with Jomana. Choosing to stay means leaving his family and career behind for a life ravaged by war, while leaving means not only losing Jomana but also ignoring the plight of the Palestinians.
“[A] nuanced exploration of the myriad ways the occupation affects Palestinians at home and abroad…This gripping play is an act of resistance that implores its audience to take heed.” ★★★ Rebecca Harkins-Cross, The Age
Tales of a City by the Sea is about what it means to leave home to create a life in more tolerable conditions, and what it means to stay. It is about relationships between parents who have chosen to leave, and children who want to return. It is about how people in diaspora see their connection to home, and how people at home see them. It is a Palestinian story, but more broadly it is a migrant story.
“A fantastically told story of two worlds colliding. An elegantly simple set […] is perfect for actors Nicole Chamoun and Osamah Sami to excel in their lead roles.” ★★★★ Harry Hughes, The Music
The play premiered in November 2014, with simultaneous productions at La Mama Theatre in Melbourne and the AlRowward Cultural and Theatre Society, in Aida Refugee Camp in Palestine. Both productions received overwhelmingly passionate responses from audiences and critics alike.
“The beautiful and passionate voice of Tayah makes the story even more touching…[This play] wondrously gives hope and prevents you from giving up on Gaza.” ★★★★ Zeynep Incir, Melbourne Arts Fashion
In 2016, we hope to remount our Australian production at the La Mama theatre in Melbourne and then take it on tour to Adelaide, Sydney, Hobart, Casula and Byron Bay.
Why Support This
Tales of the City by the Sea tells the story of people in terrible situations, living under occupation but it doesn’t define them by their suffering This is not the kind of story set in Palestine that you hear in the typical every day news reports — we hope to challenge this by telling a story that is not just about the conflict but the experiences of the people who live in and around it.
We believe that sharing Palestinian stories represents a key step towards peaceful and just resolution to the conflict and that a view into the realities of life under occupation has the power to change hearts and minds and that is why we feel it is important that this story is told.
Tales of the City by the Sea will feature a diverse cast and crew and help realize our hopes to see the diversity of Australia represented on the Australian stage. Our cast and creative team include both recently arrived migrants and multigenerational Australians. We have roots in Palestine, Lebanon, Iran, Iraq, Poland, Malta, Italy, Egypt, and Chile.
Funding is the greatest challenge faced by this project, which is why we are asking for your support.
The premiere last year was a co-share, this time, we want to be able to properly remunerate actors and artists involved in bringing this story to the stage. Your contributions go towards supporting a production that deeply values and wants to support its artists.
How the funds will be used
We already have lots of wonderful in kind support such as accommodation but we are committed to paying our artists proper wages. We will also need to cover production costs for set and costume design, transport for equipment and cost of travel for the cast and crew.
Raising this money will allow us to commit to the first leg of the Australian tour which means remounting in Melbourne with our artists on full wages regardless of money raised through tickets. That means any revenue raised through tickets will go on to support next leg of tour.
Upcoming Event:
So, let’s kick off our fundraising drive with this exciting event. Please join us on the rooftop of the Arcadia Hotel and help bring Tales of a City by the Sea to six Australian cities in 2016. Enjoy a BBQ, experience live Arabic music, watch some amazing performances, meet the cast and crew, and dance the night away!
The Same Sea: Review
The Blog: The Australian Jewish Democratic Society
By Ann Fink
Tales of a City by the Sea was a stunning theatrical experience. It is a many layered love story, set in the Gaza Strip. It is a unique play, written by Samah Sabawi, a Palestinian-Canadian-Australian writer, poet, playwright and political commentator; a wordsmith of great talent. It is a poetic and musical journey into the lives of ordinary people in the besieged Gaza strip prior to, during and after its bombardment in the winter of 2008-9.
Tales of a City by the Sea tells the story of Jumana, (Nicole Chamoun) a Palestinian woman, a journalist who lives in the Shati’ (beach) refugee camp in Gaza and Rami, an American born Palestinian doctor and activist who arrives on the first ‘Free Gaza’ boats in 2008. It is a story of impossible love, crossing cultural as well as national boundaries, intertwined with the parallel tale of Jumana’s cousin, Lama. (Emily Coupe)
Lama is the reluctant fiancé of an entrepreneurial local Gazan, (Reece Vella) a tunnel smuggler, a fixer, a man bereft of family, besotted with Lama, who, in turn longs for the “great romantic love” and constantly postpones any final commitment. Together Jumana and Lama look longingly out to sea, discussing the endless possibilities that lie beyond the horizon.
And then come the boats. Boats to break the blockade. And on one of those boats, in the finest romantic tradition, comes Rami, a wealthy Bostonian doctor, born in the USA to a family of Palestinian origins and a mother (Wahibe Moussa) with important connections. Wahibe Moussa is a star. As Rami’s mother, she is a force of nature. But even she cannot breach the blockade that isolates Gaza from the outside world.
Osemah Sami as Rami is suitably handsome, blissfully blind to the mores of traditional and Hamas enforced Muslim Gaza. And he wears socks with his sandals. Oi vey! Osemah Sami is simply superb as Rami.
Jumana is the adored and adoring daughter, of a not so simple fisherman (Majid Shokor) and his wife, (Cara Whitehouse) a woman who alone could terrify the IDF (according to her husband). Other children have married and live outside Gaza on the West Bank. Relationships with grandchildren can only be conducted by Skype. Cara Whitehouse and Majid Shokor play Jumana’s parents to great effect, bringing alive the pain of exile and separation from extended family, especially grandchildren
Jumana’s laptop plays a very significant and at moments, erotic role in this tragic romance.
And then there is the voice and the music. Hauntingly beautiful, exquisitely sung, the music and the poetry add another level to the writing and serve to deepen the impact of this powerful story of imprisonment, separation and finally bombardment. Assel Tayah has the voice of an angel. I have never heard any music like this. Not quite the Arab music one hears on Israeli radio. Definitely Middle Eastern in origin, but different. The program notes that the sound design is by Khaled Sabsabi and the sound mix is by Max Scholler –Root.
As this lovingly wrought, gentle tale continues, with the sea always in the foreground, the inevitable scenario turns dark. Rami returns to the USA ostensibly to close his clinic and prepare for life in Gaza. In reality, he dreams of freeing Jumana from her prison, to deliver her to a life of luxury and liberty in the USA. She has sworn never to leave her family or her country.
On December 27th 2008, Operation Caste Lead begins and the bombardment destroys Jumana’s home, kills all of Lama’s large family and brings back Rami, smuggled into Gaza through the tunnels. He works day and night as a doctor to save lives and comes at last to grips with the Gazan reality.
One month later, in the shadow of the ruins of her dreams, Lama agrees to marry her long suffering and patient fiancé. “He”, she explains to a skeptical Jumana, who is still in the throes of romantic love, “will always be a good provider. We will always have plenty to eat and he will give me a good life. Together we will build a new family.” They marry and within the year, Lama is pregnant.
Commentators often remark on the large numbers of children, educated women bear in Gaza. Samah Sabawi demonstrates exactly why this is so. As long as families are destroyed, there will always be a natural urge to rebuild them. Similar sentiments were expressed by many Holocaust survivors.
Meanwhile Rami tries to persuade Jumana that there is no future for them or their children in such a place. But she still refuses to leave. Love conquers all and again he returns to the USA to close his practice and prepare finally for a life in Gaza. On entering the US, he is arrested, charged with being a Hamas terrorist and we are left with Jumana, once again gazing out to the sea and the horizon beyond, imprisoned, but infinitely patient.
Tales from a City by the Sea is a universal story of love which crosses boundaries and checkpoints, cultures and nationalities; of grandmothers and grandfathers who will never be able to know their grandchildren, whose own children will become distant and alien. The tyranny of distance, which figures so large in the Australian experience, cannot be compared to the cruelty of the blockade of Gaza, which began in June 2007 and continues to this day, but it resonates with those who feel forever separated from their kin.
The performance, which I saw on the 23rd of November, the final afternoon of its far too short, sell out, season, at La Mama Theatre, in Melbourne, Australia, took place literally at the opposite end of the world from Gaza, a 36 hour direct flight distant. The production was an overwhelming achievement. All the components of good theatre, acting, casting, set design, dress and music all came together under the superb direction of Lech Machiewicz.
Having just flown in from Tel Aviv, the authenticity of the characters played by the actors was breathtaking. I could have sworn that Lama was the check out girl at our local supermarket and that Jumana was sitting at the table next to us at a wedding we attended in Jericho.
Nicole Chamoun, Jumana, is probably one of the most beautiful women I have ever seen. Her acting ability matches her looks and she is already well on the way to a great career.
Emily Coupe as Lama, the chatterbox cousin, with her sexy tight jeans and hijab could be any Palestinian teenager shopping in Ramallah or on the streets of Jaffa, texting as she walks and gossips with her friends.
Lama’s fiancé, Reece Vella is uncanny in his portrayal of the non stop cigarette smoking fixer, tunnel smuggler, entrepreneur. Ubaldino Mantelli completes this multi ethnic cast, a testament to the rich diversity of Melbourne’s immigrant heritage.
The set is simple and effective. Sheets hung on receding lines to be drawn as needed. Domestic images of washing hung to dry on balconies and rooftops of apartment buildings lining the sea shore The same sea whose waves crash on the shores of Tartus in Syria, on Beirut in Lebanon, on ‘our’ beach, the Tzuk Beach in North Tel Aviv, Israel, and onto Jumana’s beach in Gaza. It is the same sea.
Post Script.
On November 22nd 2014, The Alrowwad Cultural and Theater Society performed a production of Tales of a City by the Sea in Bethlehem, Palestine. The production was directed by Dr.Abdelfattah Abusrour. Dr Abdelfattah Abusrour stressed the importance of this production, citing the lack of theatrical works that explore the Gaza case and Diaspora Palestinians. The play, he writes, demonstrates the role of theatre in supporting the Palestinian cultural values of beautiful resistance against the violence of occupation and its ugliness.
Original article appeared here http://www.ajds.org.au/justvoices4_fink/#sthash.I5RvUOeN.9YPrGDjd.dpuf
Audio: In conversation with Tales of a City by the Sea director Lech Mackiewicz and actress Wahibe Moussa
A fantastic interview with Lech Mackiewicz and Wahibe Moussa about why they chose to be involved with the play Tales of a City by the Sea and what they hope this play will accomplish. It offers a wonderful insight into the role of theatre in building cultural bridges and telling the stories that need to be told.
With thanks to Jan Bartlett and 3CR radio.
Tales of a City by the Sea 