Discussing “Arthur Miller and Tennessee Williams in Damascus”

January 29, 2017

Syrian playwright Riad Ismat

While theater lovers know Arthur Miller and Tennessee Williams as two great pillars of 20th century American playwriting, most are surprised to learn of their enormous popularity on the Syrian theater scene.  On Wednesday, February 1st at 7 pm, the award-winning Syrian dramatist and director Riad Ismat visits EPL for “Arthur Miller and Tennessee Williams in Damascus” – a lecture cosponsored by the Chicago theater company Silk Road Rising during which Ismat will share his experiences adapting Miller and Williams for Arab audiences.  In anticipation of this fascinating program, we recently spoke via email with Mr. Ismat and Silk Road Rising’s Founding Artistic Director Jamil Khoury about how The Glass MenagerieA Streetcar Named Desire, and All My Sons resonate in Syria, Ismat’s Austrian meeting with Arthur Miller, and “how great art can transcend and bridge cultural and political differences.”

Evanston Public Library:  When did the plays of Tennessee Williams and Arthur Miller first appear on the Damascus theater scene?  How did Arab audiences initially respond to them?  

Riad Ismat:  Arthur Miller’s Death of a Salesman enjoyed a staging by the Damascus National Theater (DNT) in the early 1970s.  The first of Williams’ plays to be produced by DNT was The Glass Menagerie in 1964.  It was reproduced in the early 1970s by the Syrian Ministry of Education, and I directed it as graduation production for the Academy of Dramatic Arts in 1999.  Shortly before that in 1998, I adapted and directed A Streetcar Named Desire for DNT which was a big challenge due to the popularity of Elia Kazan’s film.  The productions of Streetcar and The Glass Menagerie both enjoyed great success, though, especially among university students.

Jamil Khoury:  I remember in the mid-1980’s, while studying Arabic in Damascus, that I was told by some university students who were majoring in English literature that they were fans of  Williams and Miller.  These Syrian students, none of whom had ever visited the United States, were quite passionate and sophisticated in their analyses of such plays as All My Sons, Death of a Salesman, A Streetcar Named Desire, and The Glass Menagerie.  They related to these stories on very personal levels and quite seamlessly transported them to Syrian families and environments.   There was nothing “foreign” or “exotic” in these narratives for them, but instead a striking familiarity and immediacy.  I was both surprised and not at all surprised.  I also couldn’t help but think that while so many English literature departments in the United States ignore plays (focusing instead on novels, short stories, and poetry), in Syrian universities plays and dramatic literature were thoroughly integrated as part of the curriculum.

(L to R) Tennessee Williams, Elia Kazan, and Arthur Miller in 1967.

Evanston Public Library:  Mr. Ismat, how have Williams and Miller influenced your work as a director and playwright?

Riad Ismay:  Not very much in my beginnings as a playwright, but certainly, a lot after I adapted and directed some of their plays.  Over time I have grown to appreciate more and more the dramatic depth of these two great pillars of American drama.  Recently, I’ve written some original plays inspired by their characterizations.

In 1996, I met Arthur Miller personally in Salzburg, Austria.  We had several conversations over the course of a week, and I attended rehearsals for his Death of a Salesman by the National Theater in London.  I expressed to Mr. Miller my wish to adapt and direct his play The Crucible.  He seemed positive and pleased after hearing how I had adapted Streetcar to base it in Damascus in the 1950s.  I still wish to direct The Crucible because it’s an allegorical play about witch hunting, a synonym of the repression of innocent citizens in my region.  It’s said that the accused are “innocent until proven guilty.”  In my part of the world the accused are “guilty until proven innocent.”

Evanston Public Library:  Mr. Khoury, how have Williams and Miller influenced Silk Road Rising productions?  Does the company have any future plans to stage one of their respective plays?

Silk Road Rising’s Jamil Khoury

Jamil Khoury:  Silk Road Rising showcases playwrights of Asian and Middle Eastern backgrounds who create protagonists of said backgrounds.  The plays of Williams and Miller do not fall within our mission.  The majority of playwrights we work with are Americans of Silk Road heritage, typically immigrants and the children of immigrants.   As theatre artists and theatre aficionados, they are inevitably exposed to and influenced by these two masters.  Some playwrights we’ve worked with have spoken of Williams and Miller as “mentors” and “inspirations.”  Others have adapted Williams’ and Miller’s work into cultural contexts of their own.  Interestingly, we are currently considering one such adaptation for our next season.  Stay tuned!

Evanston Public Library:  What do you hope people will take away from your program “Arthur Miller and Tennessee Williams in Damascus” on February 1?

Jamil Khoury:  An appreciation for the universality of Williams’ and Miller’s plays.  Insights into contemporary Arab theatre and stories that resonate with Arab audiences.  An understanding of how great art can transcend and bridge cultural and political differences.  For too long, the United States and the Arab World have been perceived as “polar opposites,” forever locked in a contentious, civilizational battle.  Hopefully this program will illuminate for people just how futile and wrong those perceptions are.

Riad Ismat:  I want the American audience to hear about how meaningful and valuable the plays of Williams and Miller are in Syria and the Arabic culture.  Their works are enjoyed universality and have proven to be immortal like the works of Shakespeare, Ibsen, Chekhov, and O’Neil.  They cross the geographical barriers between cultures and address human souls everywhere and at any time.

Interview by Russell J.

The First Folio: How We Almost Lost "Macbeth"

February 8, 2016

first folio

The First Folio of Shakespeare is a unique literary treasure.  Collected, edited, and published in 1623 by Shakespeare’s close friends and fellow actors John Heminge and Henry Condell, the nearly 1,000-page book collects 36 of the Bard’s plays – 18 of which had never before appeared in print.  Without the First Folio, Shakespearean masterpieces such as Twelfth Night, Julius Caesar, and Taming of the Shrew would have been lost forever.  On Sunday, February 14th at 3 pm, Helen Page – Professor Emerita of English at Oakton Community College – and Joseph Page – actor with the Muse of Fire Theater Company – will visit EPL to explore this great book’s fascinating history as part of #DiscoverWill: Illinois Libraries Celebrate Shakespeare’s First Folio.  In anticipation of their lecture “The First Folio: How We Almost Lost Macbeth,” we recently spoke with the Pages via email about the technical definition of a “folio,” Shakespeare’s creative process, the literary significance of the 1623 First Folio, and the “Anti-Shakespeare” movement.

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Actress and Activist Ruby Dee, 1922-2014

June 12, 2014

deeobitActress Ruby Dee died Wednesday at her home in New Rochell, NY at the age of 91. A passionate and versatile performer, she received accolades for her role in the 1970 Athol Fugard drama Boesman and Lena, and her role as Ruth Younger in Lorraine Hansberry’s landmark drama A Raisin in the Sun. She went on to reprise that role in the 1961 film version with one reviewer noting: “Is there a better young actress in America, or one who can make everything she does so effortless?” Her film career included roles in the films of Spike Lee (Do the Right Thing and Jungle Fever) as well as for a supporting role in the 2007 film American Gangster, for which she won an Oscar nomination. A lifelong civil rights activist, along with her husband Ossie Davis, Ms. Dee “lent her voice and presence to the cause of racial equality outside show business.” In With Ossie and Ruby, she wrote” The largest piece of unfinished business before humankind is, in our opinion, poverty, spiritual as well as material, racism, yes, and sexism, too; Struggle is all there is, and we are still committed.” Read more about this legendary actress in today’s NYTimes and NPR tributes.  And check the EPL catalog for more of her works.


Mantel's Books Go From Page to Stage to Screen

January 7, 2014

05WOLFHALL-articleLargeHilary Mantel’s Booker Prize winning novels Wolf Hall and Bring Up the Bodies are being adapted for the stage by the Royal Shakespeare Company. Adapting the 500 page books into two-and-a-half-hour plays has been challenging but the producers are determined to retain as much of Ms. Mantel’s prose as possible, as well as to prove that “theater can bring the books to memorable life.” The plays are in preview now, although most seats are already sold out. The BBC is also planning to film a mini-series of the novels this year. Read more about the production in this NYT article.


Talking "Compulsion" with the Next Theatre Company

November 9, 2013

compulsionEvanston’s very own Next Theatre Company isn’t afraid to challenge its audience.  For nearly 35 years the company has remained committed to producing “socially provocative, artistically adventurous work,” and this season’s staging of Rinne Groff’s Compulsion stays true to that mission.  Based on the true story of Meyer Levin and his obsession with Anne Frank’s diary, the complex tale explores the fictional Sid Silver’s passionate fixation on Anne’s story as he attempts to honor her legacy.  You can catch Compulsion through November 17th at the Noyes Cultural Arts Center, and EPL cardholders can purchase 2-for-1 tickets using the promotional code FRANK.  We recently spoke via email with Next’s artistic director Jenny Avery about Compulsion’s critical reception, the history behind the play, puppetry, and the company’s future plans.

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John Grisham's "A Time to Kill" Broadway Bound

October 8, 2013

06GRISHAM1-articleLargeJohn Grisham’s 1989 legal thriller A Time to Kill, which was made into a film starring Matthew McConaughey, is being adapted for the stage by Rupert Holmes and directed by Ethan McSweeny. The play, revolving around a young white Mississippi lawyer defending a black man for revenge murder, will open on Broadway October 20, two days before Sycamore Row, Grisham’s sequel to A Time to Kill is due out. Read more in this NYT article and check out the EPL catalog for other books by this best-selling novelist.


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