The Persian Revolution National Tour
The Persian Revolution
by Mehrdad Seyf
23 October–8 December 2007
National Tour
The year is 1906 or so it seems and revolution is in the air. The Iranian monarchy is about to succumb to the will of the people as the country takes its first tentative steps towards democracy.
Following the sell-out success of Majnoun, 30 Bird embark on a national tour with a witty and haunting new take on Iranian history. Surreal and darkly comic, The Persian Revolution puts a contemporary spin on the gripping events surrounding the establishment of the Middle East’s first secular parliament.
“An enjoyable romp through revolutionary Persia” Metro
“Inventive and very funny” Financial Times
The Persian Revolution is co-produced with the Iran Heritage Foundation.
23–24 October 2007, 7.45 pm
Tickets: £10.50 (£8.50)
Bookings: Call 08700 500 511 or book online
Phoenix, Leicester
Thursday 25 October 2007, 8.00 pm
Bookings: Call 0116 255 4854 or visit website
Unity Theatre, Liverpool
Thursday 1 November 2007, 8.00 pm
Tickets: £8.50 (£6.50)
Bookings: Call 0151 709 4988 or book online
Oval House, London
6–10 November 2007, 7.45 pm
Tickets: £12.00 (£6.00)
Bookings: Call 020 7582 0080 or book online
Free Iran Evening and post-show debate Friday 9 November
The Junction, Cambridge
Friday 16 November 2007, 8.00 pm
Tickets: £10.00 (£7.00)
Bookings: Call 01223 511511 or visit website
Traverse Theatre, Edinburgh
21–24 November 2007
Bookings: Call 0131 228 1404 or visit website
Meet the Company Weds 21 November
The Hawth, Crawley
Thursday 29 November 2007, 7.45 pm
Tickets: £10.50 (£8.50)
Bookings: Call 01293 553636 or book online
Meet the Company Thurs 29 November
Birmingham Rep Theatre
7–8 December 2007, 7.45 pm
Tickets: £10.00
Bookings: Call 0121 236 4455 or book online
Meet the Company Fri 7 December
(Production not recommended for under 12s)
Ali Amadi
Yasmin Bodalbhai
Betsahbeh Emran
Noel Le Bon
Donald Slack
Voice/Narrator: Daniel Alexander
Director Mehrdad Seyf
Associate Producer Lucia Latimer
Design Leslie Travers
Lighting Design Anna Watson
Sound George Ogilvie/Julian Littman
Costume Supervisor Isabel Muñoz
Props Hugo Rocha
Production Manager Pauric Hackett
Stage Manager Amy Rudman
Technical Stage Manager Nathan Johnson
Administration & Marketing Giles Rowland
Press Representatives Guy Chapman Associates
Lucia Latimer – Associate Producer
Leslie Travers – Design
Anna Watson – Lighting Design
Anna trained at the Central School of Speech and Drama.
Recent projects as Lighting Designer include: The Time of the Tortoise (Theatre 503); Saved or Destroyed (BAC); The School for Scandal (Salisbury Playhouse); Blue Beard (Cochrane Theatre); The Heart of a Dog (Assembly Rooms Edinburgh); This Little Hand (Almeida Projects); Effie May (Oval House); Can You See Me / Forest of Thornes (Young Vic); Boy gets Girl / 1984 / The widowing of Mrs Holroyd / The Best Little Whorehouse in Texas / Roberto Zucco / Shirley and The Devereaux’s / Widows / The Children’s hour (Arts Educational); Over Gardens out / Human Rites (Southwark Playhouse); The Garden (Touring); Carousel (BAC); The Adding Machine (Courtyard Theatre); Kismet / Venezuela (Arcola); Electra (The Gate); The Flats (Chelsea Theatre); Men in Coats (Melbourne Comedy Festival / British Tour); Innocence (BAC). As Associate Lighting designer: Sun is Shining (59E59 New York). As Assistant Lighting Designer: Aladdin (Hackney Empire).
Julian Littman- Sound
Recent Film and Television Composition includes Two Thousand Acres of Sky: B.B.C. Scotland/ Zenith. Roman Road. B.B.C./Zenith. Nosey: Rocking Horse/Channel 5. Who Do You Think You Are? International Version. Wall to Wall Body Story: Wall to Wall. Pop Compositions include Strut: Sheena Easton. Time Goes By: Charlie Dore. Who’s House is it Anyway: Gerry Rafferty. Here to Stay: Sister Sledge. Time Is A Woman: Phillip Bailey. Theatre includes The Gift: Songs and underscore, The New Vic Theatre, London. Face: Songs and Underscore, National Tour. Jailhouse Rock: Composition for percussion on everyday objects. Living Legend: Country and Western Musical in Pre-production The Wolsey Theatre Ipswich. Acting Credits include The Pharmacist: Running Scared 2006 starring Paul Walker. Juan Duarte: Eva Peron’s Brother in the Alan Parker Film Evita, starring Madonna. Al Capone: Al’s Lads. Alchemy Pictures. Rudi Morelli: Mad About Mambo, Warners. Musical Director on Tommy: Leicester Phoenix Theatre. Hair: The Old Vic London. Return to the Forbidden Planet: National Tour and Savoy Theatre London. Hedwig and the Angry Inch: Playhouse Theatre London. Jailhouse Rock: London Premiere March 2004. Musical Instructor to the Oompa Loompas on Tim Burton’s Charlie and the Chocolate Factory.
Ali Amadi – Performer
Ali trained at the Birmingham School of Speech and Drama. This is his second production with 30 Bird following the UK Tour of Majnoun. His other theatre credits include: The Strange Case … (Jekyll/Hyde); The Master and Margarita (Pontius Pilate); As You Like It (Oliver) and The Tempest (Caliban) for Arkansas Shakespeare Festival; Othello (Bianca/Duke) BAC; The Birds (Hoopoe) Edinburgh Festival and The Jungle Book (Bagheera) at The Library Theatre. Film & TV credits include: Voices Inside dir. Bernard Walton and Heaven dir. Sarah J. Gibson. He appeared as Julius Caesar in the BBC 1 series Historyonics and Comic Side of 7 Days for BBC 3. Ali also appeared in the BBC 1 series Robin Hood.
Yasmin Bodalbhai – Performer
Born in the UK, Yasmin is of Anglo-Indian descent. She recently completed her training at The Poor School after graduating with a degree in Arabic and French from Oxford University. As part of her degree she lived in Syria for two years where she performed in many international theatre festivals. Credits whilst in Syria include the title role in the Arabic language play Julia Domna. Credits whilst at drama school include Rima in Talking to Terrorists, Maureen in Rent and Rose in Dancing at Lughnasa. Yasmin made her professional theatre debut last year in Birds Without Wings playing Leila and Polyxeni to rave reviews, and has since played Aisha, the lead in Iraq 2020 for the BBC, Olive in Asylum Monologues at the Young Vic and she is runner up in the Norman Beaton Felllowship Awards for BBC Radio Drama 2007.
Noel Le Bon – Performer
Noel has been working as a professional actor for 10 years. Stage roles have included Yolland in Brian Friel’s Translations, Monsieur Prouix in Doug Wright’s Quills, Horatio in Hamlet and most recently Creon in Inner Sanctum’s adaptation of Antigone – The House of Laius. On screen, Noel has been seen in Sky’s Dream Team, A Knights Tale, Last Holiday and The Illusionist.
Donald Slack – Performer
Donald trained at Webber Douglas Academy of Dramatic Arts. His roles include: Ethan/Burt in A Cheever Evening; Louis in Angels in America; Dick in Rutherford & Son; Georges in Dinner with the Family. He has just completed a pilot read of comedian Omid Djalili’s sitcom Omid, directed by Ed Bye for the BBC, playing Omid’s cousin Shahriar. Donald is also a singer-songwriter and DJs in and around London regularly.
Zena Alkayat, Metro, 2006
“Seyf and the cast of 30 Bird Productions emphasise the contemporary resonance by presenting events in a surreal, comic style. It is an inventive piece. The performers are very funny as they scatter in lightning time out of the way of the violent wrath of the Shah as he strides around looking for heads to bang and groins to knee. There is a delicious irony, of course, to an American Missionary’s statement that America doesn’t interfere in the other countries’ affairs.”
Sarah Hemming, The Financial Times, 2006
“Mehrdad Seyf’s new play uses the centenary of the Iranian Constitutional Revolution as a springboard for a surreal, stylised and darkly comic essay on this pivotal point in the history of the Middle East.
“The five-strong Anglo-Iranian cast, all wearing matching purple suits and frequently clutching cigarettes, depict the complex social and political events that lead to this turbulent period, focusing on the changing role of Islam and the position of women in society, while also encompassing the viewpoints of Christian missionaries, as well as - a trifle bizarrely - extracts from the adventures of Tintin…Erin Brodie relishes her role (as the Shah) and Ali Amadi provides unexpected laughs.”
Natasha Tripney, The Stage, 2006
“There are a total of five actors who take on the mammoth challenge of enacting a multitude of historical characters and their performances are breathtaking, especially the female actors who take on both male and female roles seamlessly. The stage space was so well occupied and movements were so well co-ordinated that it became a piece of choreographed dance. The stage setting is interestingly simplistic and from such simplicity comes greatness…
The minimalist stage design produces a modern feel to a story that is 100 years old. The profound message of the play which you are left feeling is that there are no heroes. It is a spectacular piece of drama, which at times is disturbing but is essentially compulsive viewing.”
Nabila Pathan, Emel Magazine, 2006
“Eccentric, breathless take on the Iranian revolution. Mehrdad Seyf’s play, centred around the 1906 Iranian constitutional revolution, gamely tackles a difficult and, for many of us, obscure period of history, trying not just to make gripping drama but also to make us laugh.
The drama [has] a giddy free-wheeling feel and allows those on the stage to throw their whole bodies into their acting. Some of the best jokes come from the production’s clever choreography.”
Alexander Carnwath, Morning Star, 2006
“This is a lively company and a talented one. Visually they are strong. Leslie Travers’ elegant and simple set has an A-frame of ladders on a spinning rostrum, and a tilted rostrum with a mast rising from it are set against a translucent backing. The whole cast are dressed in well-cut blue three-piece men’s suits and switch between roles as needed. They race or process over the stage and its structures to mark changes of time or location and their physicality adds great vitality to Mehrdad Seyf’s stylized production… There are good theatrical skills on display here.”
Howard Loxton, Rogues & Vagabonds, 2006
“Loved the total focus, staging, movement, unity, originality and the merging of the ancient culture and conflict with the present. Such originality. An excellent company - inspired, mesmerising, compelling, educative and very expressive.”
“Simple but powerful - more support of these kind of shows.”
“Liked the energy of the performers and moments of absurdist humour.”
“The show incorporated an interesting use of lighting, sound and space. I especially liked the more experimental aspects of the play’s production and the energy of the actors.”