For communities and diasporas that have fled from war, it is no easy feat to detach war from storytelling, particularly for communities that have witnessed intergenerational conflict. In such circumstances, storytelling can become a vehicle of expression, justice and awareness.
However, if not complemented with other stories and narratives, it can also become a collective vehicle of re-traumatisation, a source of identity and a thema embedded within a community’s art.
Ruins, directed by Emily Ayoub attempts to balance this nuance from the perspective of the Arab diaspora. Whilst the production struggles to break from its trauma thema, it is nevertheless an earnest production, which comes from the heart.
Originally commissioned as part of Belvoir’s 25A in 2024, Ruins shares a story of migration and sacrifice. Amelia Alissa (Randa Sayed) and her father, Joe (played by both Youssef Sabet and Tony Poli), had plans to travel together back to their ancestral homeland in the ancient city of Baalbek in Lebanon.
When Joe passes away, however, Amelia takes the journey on her own. What follows is a transient and fantastical journey across time, space and place as Amelia comes to terms with her history and heritage.
All cast members showcase an endearing commitment to their roles. Sayed brings a sound performance with clear expression that echoes with passion throughout the Seymour Centre theatre. In her clarity, Sayed does over-enunciate, which removes from the flow of conversation with other cast members.
Tony Poli, who plays Joe, delivers a muted performance, which relegates his spectral role to the periphery. Sabet, who plays a young Joe, has a more balanced approach and is comfortable in his role. Sabet is adept at conveying nuanced emotions through subtle facial gestures and expressions.
Whilst the commitment to their respective roles is strong, the strength of the acting varies with each cast member, resulting in an inconsistent performance.
The influence and support of Clockfire Theatre Company cannot be understated. As a physical theatre company, Clockfire’s influence on the set transition and choreography is smooth.
The cast’s ability to gracefully transform the Seymour Centre with each scene is effortless, and at times, almost undetectable. The transitions allow the audience to stay within the story with no disruptions caused by set changes.
Where the production does become more jarring is in its scripting and sound. Emily Ayoub and Madeline Baghurst’s script is tinged with cheesy dialogue, which disrupts the course of conversation in the reality within the story itself.
There are parts of the dialogue that are spoken in Arabic. In some scenes, the movements, gestures and tonality bridge the gap for non-Arabic speakers. However, there are other parts where this attempt misses the mark, and the non-Arabic speaking audience is left confused and playing catch-up.
In terms of sound, there’s a persistent conflict between conversations in the story and its accompanying diegetic sounds and music. The diegetic sounds make it difficult to understand the vocal projections of some of the cast.
A special mention must be made for Ayoub’s establishing scene of Lebanon in the 1980s. The integration of Frankie Clarke’s lighting and Laura Turner’s video design creates a poetically entrancing nostalgia and anemoia for Lebanon.
These scenes encapsulate the juxtaposition of Lebanon in the war, whilst not pandering to its progress by conflating it with Western culture. Beirut is the Beirut of the Middle East, not Paris, not anywhere else.
Ruins is a production that clearly comes from love and is a homage to Lebanon. There is such a delicate intentionality placed in the archival footage shown (supervised by Thomas Bensley), in its details of the recently damaged Palmyra Hotel, and in its music choice.
Yet, this attention to detail has come at a myopic cost. The story is primarily set during Lebanon and Israel’s war in the 1980s. This historical and political context, in conjunction with the personal narratives and fantastical elements, results in an oversaturated production. There are plot points that have been left unclear, and other points that were mimetic but then repeated in diegesis.
The integration of the Phoenician legacy is a refreshing, creative choice and connects Lebanon to an enduring heritage from ancient times. At times, however, this felt like it clashed with the story’s other message about the Levant being the intersection of different civilisations and migration.
Ruins is an evocative rendition of discovering connection and meaning. The timing of the production is poignant with the continued genocide in Gaza and Israel’s offensive attacks in Lebanon, Iran, Yemen and Qatar. However, the production feels underdeveloped and, at times, overwhelmed by its ambition.
Yet, in moments of inspired creativity, it reveals significant aspects that, with further development, could resonate deeply with audiences seeking to understand diaspora, memory and resilience. There are stories of daily life interwoven with rich cultures which ought to be untapped. By redeveloping its thematic focus, Ruins could be the start of such stories.
Ruins runs to 18 October at Seymour Centre. Corner City Road and Cleveland Street Chippendale NSW 2008.
Tickets: https://www.seymourcentre.com/event/ruins/
Website: https://www.clockfiretheatre.com/
Socials: https://www.instagram.com/seymoursydney/
Photo credits: Geoff Magee
