Low Down
A one-woman play powerfully exploring the psyche of Israel through the eyes of a cross-section of Israeli society. "Set in a Tel Aviv cafe moments before a suicide bombing, Bahr's solo show Dai explores Israeli society in a way you've never seen before. "
Review
We’re in a café, a café in Tel Aviv, about to be hit by an explosion. Through a series of interviews (we, the audience are addressed as the interviewer), we are welcomed into the doomed lives of a series of characters living in the heart of the Israeli-Palestinian conflict.
From a heartbroken but philosophical Israeli father, our film-maker interviewer (doing her research before heading off to Romania for the “shoot”), to a gay German seeking his Israeli lover, and an ex-pat American visiting her sister, this is a rich and tragic-comic tapestry of lives.
It’s rare to receive a standing ovation at the Edinburgh Fringe. Often it emanates from a small group of relatives somewhere in the front row. The standing ovation for this show came from all parts of the Pleasance Cavern, appreciation for the energy and versatility of the performer, and for the gesture of a piece that never seems to preach, but certainly does teach. “Dai”, which means “Enough” was written and performed by the multi-talented Israeli-American, Iris Bahr. Quite clearly, her stand-up credentials come to the fore in this impressive piece, combined with her skill as a writer with an ability to portray vividly a range of characters on both page and stage.
There is comedy in this series of monologues, but we are also shocked and immersed in the tragedy of the schism of two peoples.
The zealous Israeli mother’s indoctrinating of her kids in their pushchairs I found particularly chilling, and the optimistic Palestinian professor who comes from Rammalah to this café to “take a coffee” and watch his son meet an Israeli girl (before they are all destroyed by a bomb) cuts to the core. Israel emerges as a multi-personality culture with a core fracture in its heart and head.
Staging is simple, the piece being a series of episodes, dialogues with a silent interviewer (we the audience are directly addressed), costume is simple, lighting appropriate, sound minimal and repeatedly shocking (beware the loud bangs, and I mean loud). Bahr’s pacing does tend to be a bit too homogenous across all the characters; it is all quick-fire and paced about the same. A little more variety there would have enriched some characterisation even further.
I also felt the character of the gay German was a bit tangential to the theme of the piece. But overall, the writing is of such high quality, the observational humour (delivered through each character) so sharp, rich and engaging, that an overall effect emerges that is lasting. Many of the characters are still with me as I write this review, and that is no mean feat amidst the noise and clamour of the Edinburgh Fringe
“After a trauma, the brain floods the body with hope.” says the philosophical Israeli father. I can’t say I left the theatre particularly hopeful for either Israel or Palestine, yet I was strangely uplifted by the humour and warm intention of this powerful and superbly delivered and written piece.
Reviewed by PL 7th August 2007
