“An enjoyable romp through revolutionary Persia. The Persian Revolution is a timely play that feels contemporary in its issues…A riotous style and a surreal sense of humour.”
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.”
The Persian Revolution