By Osamah Sami Adapted for the stage by Osamah Sami and Janice Muller
12 July - 4 August
and Malthouse Theatre present
Synopsis An irreverent but tender memoir of a father, a son and a question of faith Osamah is trapped at an airport in Iran. His visa expires today, he could be thrown in jail if he doesn’t leave the country and check-in closes in one hour and twenty minutes. But he can’t return to Australia alone - he must bring with him the body of his beloved father. Waiting for permission for this precious cargo to leave Iran forever, we jump through time to observe Osamah’s incredible life of defiance and his search for identity.
Osamah Sami, Rodney Afif
Not PC
Tragicomedy
Quirky
Quarter-life Crisis
Rebel
True Story
Good Muslim Boy
By Osamah Sami, adapted for the stage by Osamah Sami and Janice Muller VENUE
CAST
12 July – 4 August Cremorne, QPAC
Rodney Afif .................................................................. Man Nicole Nabout ........................................................Woman Osamah Sami .........................................................Osamah CREATIVES Janice Muller ......................................................... Director Romanie Harper .................................................... Designer Ben Hughes ........................................... Lighting Designer Phil Slade ...........................…. Composer/Sound Designer Belinda Gibson ........................................ Stage Manager
ATTENDANCE INFORMATION Good Muslim Boy will run for approximately 85 minutes with no interval.
WARNINGS This production contains coarse language, haze, and loud sounds. The use of photographic or recording equipment is not permitted inside the theatre. Cover Photo: Tim Jones ACKNOWLEDGEMENT OF COUNTRY
A co-production with Malthouse Theatre
Queensland Theatre would like to acknowledge the Jagera and Turrbal people who are the Traditional Custodians of this land. We would like to pay our respects to their Elders both past and present, and to all Aboriginal and Torres Strait Islander peoples. RECYCLE THIS PROGRAM Support Greening Queensland Theatre and recycle this program after the performance in the recycling bins provided in the foyer.
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Welcome Mark Twain famously said that truth is stranger than fiction, because fiction is obliged to stick to possibilities, while truth isn’t. I can think of few examples that illustrate that statement better than Osamah Sami's extraordinary life story. Sam Strong Artistic Director
Sure, there's a tiny bit of artistic licence in this ripping tale of an irreverent kid yanked out of war-torn Iran to live in the Melbourne suburbs, but it really is just a tiny bit. Good Muslim Boy is a remarkable show and such an unforgettable experience because it all really happened. And what’s even more remarkable is that we are guided through it first hand – by the person who experienced the trauma, grief, heartache, love, joy and relief.
At a time when families are being torn apart at frontier posts, refugee boats are being turned back from ports to the peril of the open sea, countries are throwing up hard borders and political parties soar to power on the back of rigid anti-immigration policies, the core theme of Osamah's story has never been more urgent. It's sobering to think that the kind of twisted and cruel bureaucracy presented in this play might be closer than we think.
Good Muslim Boy comes to Brisbane off the back of a successful season at Malthouse Theatre in Melbourne, and we're proud to be co-producing it with our friends down there.
Osamah himself says: "Refugees don’t want sympathy ... Empathy, on the other hand, can heal our wounds." That's the key. As much as Osamah has suffered, his story is uplifting, funny and moving. Most importantly, it reminds us of our common humanity – how a small act of kindness or compassion can make all the difference to a soul in need.
It's a must-see for two reasons: first, it's told with a charismatic flair that is as riveting and as colourful as the tales of Osamah and his family. Second, it's a play that seems to speak very particularly to the here and now, continuing Queensland Theatre’s exploration of Australian society in all its diversity and complexity.
Not PC
Tragicomedy
Quirky
Sam
Quarter-life Crisis
Rebel
True Story
A message from our Production Supporter At Griffith Review, we believe that it’s time to talk about Who We Are. This year, our editions explore what it means to be Australian: Commonwealth Now questions the legacies of imperial rule, First Things First scrutinises the struggles of Indigenous and First Nations peoples, and Who We Are (out July 31) examines Australia’s identity as an undeniably immigrant nation.
Australia is one of the great success stories of multiculturalism, yet there seems to be little consensus on what multiculturalism actually is – and how it shapes the nation. We need to talk and listen, explore and imagine, learn about the past and create a shared and diverse future. We need to initiate and sustain an important national conversation. Griffith Review 61: Who We Are fosters a robust and nuanced conversation about immigration, identity, belonging and difference – through the voices of the newly arrived and the long-settled; those with a sense of history and others focused on future possibility. Some voices are angry, others optimistic – but all present perspectives that need to be heard in an urgent national conversation. It’s time to rethink who we are and what we might be. This is why Griffith Review is proud to support Queensland Theatre’s production of Good Muslim Boy. It’s an honour to be associated with this work, which is based on the superb book by Osamah Sami. Griffith Review supports quality Australian writing and new ideas. As a Queensland Theatre follower, we know that you do too. We are pleased to offer Good Muslim Boy audience members an exclusive 20% discount on our 2018 editions or subscriptions. Simply enter QT2018 when finalising your order at griffithreview.com We trust that you enjoy the play and that you continue the important national conversation. Julianne Schultz Founding Editor and Publisher Griffith Review
On sympathy and empathy So, I just came back from a walk along the Yarra River, where I witnessed the full moon, or as it was reported in the papers, the ‘blood moon’. Not much blood was involved. Typical of the press to sensationalise. Osamah Sami Co-writer and Performer
It got me thinking about how lucky I am. Because I’m telling you about my bloodless, mundane walk when I could have easily still been a stateless Iraqi, caught up in the political turmoil of the Middle East. And it irritates me to have to say it because I’m not after the fleeting, ‘oh, you poor refugee’ sentiment, which I’ve heard one too many times. Refugees don’t want sympathy, pardon my bluntness. Empathy, on the other hand, can heal our wounds collectively, as we begin walking in one-another’s shoes. This is why I wanted to tell my story. Not to show you my plight as a kid during the war, but to hopefully (inshallah) act as a conduit between your kind selves and a people who are otherwise only talked about, and rarely heard from. Emotions don’t discriminate against our skin colour or faith. If you showed me a close-up photograph of tears rolling down someone’s face, there is no way I could label them as ‘Muslim tears’ or ‘Jewish tears’ or ‘African tears’ or ‘gay tears’ or … you get the drift. Okay, so all the talk about tears is making this sound ominous. If you’re reading this before the show, I guarantee you there’s plenty of laughs in store. If you’re reading it after, please note my guarantee is non-binding.
I guess I can’t say much more beyond this. The play will hopefully speak to you in the universal language of emotion, and despite our many, many differences, I hope (again, inshallah) it can highlight our similarities and of course, be entertaining. I thank the wonderful, theatre-smart production team and my beautiful, generous cast members (they’ve dealt with so many script changes, most likely even before the show you’re seeing tonight). Thank you to Malthouse Theatre and Queensland Theatre for putting on a show about a guy whose skin colour is mostly seen on cop shows. And a special TY to my director and co-writer, Janice, who patiently listened to my dad jokes and then told me to get on with it — she’s an absolute pro and you see it in her work. I must also acknowledge my work takes place on Indigenous country, and I pay my respects to the traditional custodians of the land. Ladies and gentlemen, boys and girls, those who do not specify gender, it’s a pleasure to have you in the audience. It really is.
Osamah Sami
Rodney Afif
Nicole Nabout
Nicole Nabout, Rodney Afif, Osamah Sami, Janice Muller
Janice Muller, Rodney Afif
A strange and delicate process Osamah Sami’s memoir, Good Muslim Boy, is in turns thrilling, shocking, hilarious, confronting and tragic. It’s life in all its contradictions: incongruous happenings, poignant meetings, laughter, loss and hope. When Osamah suggested we make a play out of it, I didn’t take any convincing. Janice Muller Co-writer and Director
In the middle of last year, Ali’s Wedding— another adaption of the book billed as Australia’s first Muslim rom-com—landed with a joyous thud in cinemas across Australia. Audiences laughed and cried as they followed Osamah’s escapades as a young man finishing school and finding love. For the stage adaptation, we wanted to look at the events that occurred several years after those of the film, focusing on his relationship with his father and their trip to Iran in 2013.
Our process, which started over a year ago, went something like this: an initial intensive two-week writing workshop, a lot of discussion, production of a first draft, endless edits back and forth, further discussion, a workshop with actors, a reading, more rewrites, more discussion, more emails, a second workshop with actors and a new draft, two or three more versions of this draft and then the production of a final rehearsal script, which was completely re-written again during the rehearsal period.
Very quickly, it became clear to me that Osamah’s presence onstage is what would make this version so special. This father-son tale is his own, he’s actually lived it, and having him physically there brings such power to the work. His father meant a great deal to his religious community in Melbourne, as well as to his family and friends, but for Osamah he was a true hero.
Osamah doesn’t mind biting off more than he can chew and his energy, enthusiasm and drive are infectious. Working together on this show has been a joy and a privilege. I am very grateful to him for inviting me to help bring his story into the theatre.
Writing a new play takes a great deal of time and requires a considerable amount of support. Co-writing is a strange and delicate process that involves a lot of trust, intuitive decision-making and a healthy dose of frankness.
Not PC
Tragicomedy
Quirky
Thank you to the wonderful cast; Rodney, Nicole and Osamah; as well as the team; Romanie, Ben and Phil for their amazing work; special thanks to Alice Ansara, Luisa HastingsEdge and Nicole Chamoun for their invaluable contributions during script development; particular thanks to Sapidah Kian for her wisdom and to the entire team at Malthouse Theatre and Queensland Theatre for their generous support.
Quarter-life Crisis
Rebel
True Story
Osamah Sami
Romanie Harper
CO-WRITER / OSAMAH
DESIGNER
Osamah Sami is an award-winning actor, writer and comedian, born in wartorn Iran to Iraqi parents. His critically acclaimed memoir Good Muslim Boy was the winner of the NSW Premier’s Literary Award and Highly Commended at the Victorian Premier’s Literary Awards. Osamah also co-wrote and starred in Ali’s Wedding, which was the winner of the Audience Award for Best Feature Film at Sydney Film Festival, and won The Age Critics Award for Best Australian Film. His screenplay earned him an Australian Academy Award (AACTA), as well as an Australian Writers Guild Award for Best Original Feature Film. He also received an AACTA Award nomination for Best Lead Actor, as well as Film Critics Circle of Australia Award nominations for Best Screenplay and Best Lead Actor. In 2016, his work in Melbourne Theatre Company’s I Call My Brothers earned him a Green Room Award nomination for Best Lead Actor. Osamah is recognised as a ‘notable Australian Muslim’ by the Commonwealth of Australia. He is hoping to be nominated for the Best Dad of the Year Award in the near future.
Queensland Theatre: Debut. Other Credits: As Designer: Malthouse Theatre: Little Emperors; Arts House: We All Know What’s Happening; Fortyfivedownstairs: This Is Eden; ZLMD Shakespeare: Conviction; Arthur Productions: Bright World; Malthouse Helium: META; Next Wave: Madonna Arms; Daniel Schlusser Ensemble: M+M (with Melbourne Festival); Sisters Grimm: The Sovereign Wife (with NEON). As Codesigner: Radiohole: Inflatable Frankenstein (The Kitchen, NYC). As Co-director and designer: fortyfivedownstairs: The Collected Works of Victor Bergman; MTC NEON: Calamity. Awards: Green Room Award – Independent Theatre Set and Costume Design Conviction; Green Room Award nomination – Design M+M; Green Room Award nomination – Design The Sovereign Wife.
Janice Muller
Ben Hughes
CO-WRITER / DIRECTOR
LIGHTING DESIGNER
Queensland Theatre: Debut. Other Credits: Malthouse Theatre: Revolt. She Said. Revolt Again., Turbine, A Woman in Berlin; Sydney Chamber Opera: Biographica (with Sydney Festival); Carriageworks: Lake Disappointment; Urban Theatre Projects, Sydney Festival, Belvoir, Castlemaine State Festival & The Substation: The Tribe; ATYP: Alaska; Belvoir: The Country, Crave (with The Storeroom). Positions: Director in Residence, Malthouse Theatre (2016). Awards: Sydney Theatre Award nomination – Best Director Lake Disappointment. Janice received the Goethe Institut/Playwriting Australia Dramaturgy Scholarship in 2006, the VCA’s Keith & Elisabeth Murdoch Travelling Fellowship in 2003, and was a participant at the Royal Court International Residency in 2001.
Queensland Theatre: Twelfth Night, Scenes from a Marriage, An Octoroon, Noises Off! (with Melbourne Theatre Company), Constellations, Switzerland, Much Ado About Nothing, The Seagull, Happy Days, Grounded, HOME, The Button Event, The Effect (with Sydney Theatre Company), The Mountaintop, Black Diggers (with Sydney Festival), Design for Living, 1001 Nights, The Lost Property Rules, Orbit, Mother Courage and Her Children, The Pitch & The China Incident, Kelly, Head Full of Love, Fractions (with Hothouse Theatre), Orphans, An Oak Tree, Sacre Bleu, Let The Sunshine (with Melbourne Theatre Company), Fat Pig, The Crucible, 25 Down, Stones in His Pockets, I Am My Own Wife, John Gabriel Borkman, The Estimator, Private Fears in Public Places, Man Equals Man, Waiting for Godot, Eating Ice Cream with Your Eyes Closed, The Exception and The Rule, Ruby Moon. As Associate Lighting Designer: Toy Symphony, Heroes. As Co-Director/Designer: Trollop. Other Credits: Highlights include Sydney Theatre Company: Black is the New White; The Danger Ensemble: Caligula, The Wizard of Oz, Sons of Sin, Loco Maricon Amor, The Hamlet Apocalypse; La Boîte Theatre Company: A Streetcar Named Desire, Snow White (with Opera Queensland & Brisbane Festival), Medea, A Doll’s House, Cosi; Expressions Dance Company: Converge, Mozart Airborne (with Opera Queensland), The Host, Carmen Sweet, Propel; Queensland Ballet: Flourish, Giselle, A Classical Celebration, ...with Attitude; As Associate Lighting Designer: Elision Ensemble: The Navigator; Meryl Tankard: The Oracle. Positions: Affiliate Artist, Queensland Theatre (2014 & 2011); Resident Lighting Designer, Queensland Theatre (2013); Associate Artistic Director, The Danger Ensemble; Professional Member, Association of Lighting Designers; Accredited Member, Australian Production Design Guild. Awards: 2011 Groundling Award – Outstanding Contribution to Lighting Design.
Phil Slade
Rodney Afif
COMPOSER & SOUND DESIGNER
MAN
Queensland Theatre: Macbeth, 1001 Nights, Bombshells, Romeo & Juliet, The School of Arts, Rabbit Hole, Grimm Tales, The Glass Menagerie, Thom Pain, An Oak Tree, Man Equals Man, Treasure Island, The Exception and The Rule. Other Credits: Bell Shakespeare: Faustus; La Boîte Theatre Company: The Wishing Well, Oodgeroo: Bloodline to Country, Danger Age, Sex:cubed, The Drowning Bride, Salt; Melbourne Theatre Company: Australia! The Show (with Hothouse Theatre); Harvest Rain Theatre Company: Caucasian Chalk Circle, Loves Labours Lost, As You Like It, Much Ado About Nothing. Awards: Matilda Award – Sound and Composition 1001 Nights; Bell Award – Music Sex:cubed. Phil is a registered psychologist and behavioural economist. He is also a published author of a number of books on behavioural economics.
Queensland Theatre: Debut. Other Credits: Malthouse Theatre: White Rabbit Red Rabbit; Eleventh Hour Theatre Company: Othello; Melbourne Theatre Company: Macbeth, Glengarry Glen Ross, The Golden Dragon, Two Brothers, Wait Until Dark, Three Sisters, The Balcony. Film: The BBQ, Ali’s Wedding, Hotel Mumbai, Pirates of the Caribbean: Dead Men Tell No Tales, Lucky Miles, Azadi, The Killer Elite, My Year Without Sex, Love’s Brother, Serenades. Television: Romper Stomper, Rosehaven, Offspring, Winners and Losers, East West 101, Satisfaction, Rush, All Saints, City Homicide. In 2005, Rodney became a Clown Doctor and since then Dr Achoo! has worked at the Melbourne’s Royal Children’s Hospital and in pediatric wards in many other hospitals.
Belinda Gibson
Nicole Nabout
STAGE MANAGER
WOMAN
Queensland Theatre: Debut. Other Credits: As Production & Stage Manager: cdp Theatre Producers: Mr Stink (Dubai, Abu Dhabi & Australia national tour), Horrible Harriet (national tour), The Gruffalo (national tour), Lyrebird Tales of Helpmann (Australia and New Zealand
Queensland Theatre: Debut. Other Credits: The Eleventh Hour: King John, The Crucible; Playbox Theatre: Secret Bridesmaid’s Business; The Australian
national tours, London Season), The Three Divas (national tour); Legs on the Wall: Runners Up (national tour), All of Me (UK national tour). As Stage Manager: Sydney Gay and Lesbian Mardi Gras Festival Club; Sydney Conservatorium of Music: Cosi Fan Tutte. As Artist Liaison: Hi - 5, Come on and Party (national tour). As Assistant Stage Manager: Menopause The Musical (national tour); Bell Shakespeare Company: Romeo and Juliet (national tour). Positions: Group Leader, Medal Ceremonies, Gold Coast Commonwealth Games; Creative Producer, Gold Coast Cultural Precinct; Program Manager, Glasshouse Port Macquarie; Operations Manager, Glasshouse Port Macquarie; Venue Manager, Moonlight Cinema Centennial Park Sydney; Venue Operations Manager, Legs on The Wall; Event Manager, Australia Day Sydney City Events; Event Manager, Beatification of Mary Mackillop Papal Mass, Catholic Archdiocese of Sydney. Training: Bachelor of Fine Arts (Technical Production), NIDA.
Shakespeare Company: Much Ado About Nothing, A Midsummer Night’s Dream; Gas Theatre: Othello, Titus Andronicus. Film: Treading Water, Little Deaths, Three Dollars, Red Rover. Television: Newton’s Law, The Doctor Blake Mysteries, Nowhere Boys, Upper Middle Bogan, The Time of Our Lives, Offspring, The Lost Boys, Miss Fisher’s Murder Mysteries, The Librarians, Very Small Business, Blue Heelers, Last Man Standing, The Brush Off.
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Osamah Sami, Nicole Nabout
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REHEARSAL PHOTOGRAPHY Tim Grey PRODUCTION PHOTOGRAPHY Tim Grey
Queensland Theatre is a member of the Australian Major Performing Arts Group.
Information correct at time of printing
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TRUS1TO CET ES 2 28 SEP –
113 Sturt Street, Southbank VIC 3006 Shari Sebbens, Luke Caroll, Melodie Reynolds-Diarra, Tony Briggs and Tom Stokes
Osamah Sami, Rodney Afif, Nicole Nabout
Rodney Afif
Osamah Sami
Commissioned artwork by Queensland printmaker Claudia Husband
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‘A corker’ – The Age
The smash-hit stage adaptation of the classic Australian coming-of-age mystery
28 July — 18 August Playhouse, QPAC
Based on the novel by Craig Silvey Adapted by Kate Mulvany Directed by Sam Strong
QT-Lowd-ad-148x105_F.pdf
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24/5/18
4:08 pm