IF, as & Stranger in the Corridor

IF, as... and Stranger in the Corridor are two short plays from Mammad Aidani, presented together at La Mama without break. The pieces deal with displacement, self examination, institutionalisation and loss of self, though their structure seems to effectively alienate the audience to such a degree that an attempt to define their meaning in an absolute way feels like driving nails into sand.

This is as much a product of the performance style as the plays themselves. Director Lloyd Jones and his three actors present the material in a steady, lilting rhythm at times akin to a lullaby. Occasionally a wave of intensity will roll through the words and break gently over the audience, bringing us back to sharper attention, but most of the time the slow tempo encourages a soft, distant focus.

This approach is less evident in the shorter IF, as..., which is presented first of the two. Elnaz Sheshgelani puts herself through a series of stretches and warm up exercises in a park while a blind man, Shahin Shafaei, plods through his curious philosophical perspective.

Careful attention yields some interesting thoughts and Sheshgelani’s dry scepticism married with her vigorous physicality balances this piece well. The conclusion is unexpectedly sweet and this piece is perhaps the more successful of the two for its more engaging style. It is intended to be more light hearted and its deeper message benefits from this approach.

In contrast, Stranger in the Corridor is the longer, main presentation of the evening, and features none of the balance evident in IF, as. Majid Shokor reads from several looseleaf pages as Shafaei gradually descends the La Mama staircase, often echoing Shokor’s words in a slow, distressed manner. The reading itself is pained, slow and steady in its own distress. The delivery suits the words, in themselves a poetic recounting of a displaced and distraught man on the fringes of society.

The presentation is stark and at times moving, but too often the performance style stunts the emotion of the piece. Stranger in the Corridor left me troubled; I felt as though I hadn’t given it the attention it warranted but also felt kept at arm’s length by the performance. As such it is a difficult piece to review and I would encourage audiences to experience it for themselves. I suspect opinions will – and should – vary widely.

Aidani’s work is unashamedly philosophical by nature and focussed heavily on issues of self examination and social justice. As such, it warrants close examination and attention, regardless of performance style.

IF, as... and Stranger in the Corridor – Two Short Plays by Mammad Aidani

Bookings: 9347 6142 or online