Oh My Sweet Land

Called “extraordinary” by the San Francisco Chronicle, Oh My Sweet Land returns to Bay Area home and community kitchens after a sold-out pilot run in October 2017. The tour-de-force solo show, based on interviews with Syrian refugees in Jordan, takes an unflinching and personal look at the Syrian refugee crisis, and the brutal war that led up to it. In the play, a woman of mixed Syrian-German parentage recalls her encounter with Ashraf, a Syrian man in Paris, all the while preparing kibbeh, a Syrian delicacy. When he disappears, she goes on an arduous journey in search of him that leads to stirring conversations with some of the two-million Syrian refugees in Lebanon and Jordan. One part detective story, one part a woman’s reckoning with her heritage, Oh My Sweet Land offers an intimate and nuanced perspective on the conflict in Syria and highlights the resilience of the Syrian people. Oh My Sweet Land runs one hour followed by a 30-minute food sharing and community conversation. Instead of a traditional theater space, Oh My Sweet Land will be performed in kitchens around the Bay Area with performances followed by food sharing and community conversations. The performance includes the cooking of meat, onions, wheat, and spices.

Love, Bombs, and Apples

A Palestinian actor learns there’s more to English girls than pure sex appeal. A Pakistani-born terror suspect figures out what’s wrong with his first novel. A British youth suspects all is not what it seems with his object of desire. A New Yorker asks his girlfriend for a sexual favor at the worst possible time. Love, Bombs & Apples is the comic tale of four men, each from different parts of the globe, all experiencing a moment of revelation.

We Swim, We Talk, We Go to War

While trying to navigate the currents of the Pacific, an Arab-American woman and her nephew, who has enlisted in the military, dive into the murky waters of family, identity, and politics. Adventurous and playful, We Swim takes the form of a literal conversation on stage, and expands into a nuanced dialogue about what it means to be American, Arab, and Arab-American at our current moment in time.The play offers its audience an opportunity to examine America’s relationship with its military, as well as its growing Middle Eastern immigrant population. It blurs the lines between “us” and “them,” and presents a provocative exploration of the tragic and indelible ripples of war.

Salim Salim

When Palestinian Salim Abyad is released from an Israeli prison, the Israeli authorities mistakenly bring him to the Gaza border crossing while his family awaits his return on the other side of the country, in the West Bank. Salim knows that if he enters Gaza, he might never see them again. Stranded on the border, Salim has to find a solution before the Israeli soldiers make a choice for him.

A Distinct Society

A quiet library that straddles the border of the U.S. and Canada becomes an unlikely crucible for five people from around the world. When an Iranian family, separated from one another by the “Muslim ban,” use the library as a meeting place, the head librarian, a U.S. border patrol officer, and a local teenager have to choose between breaking the law and saving themselves.

Elsewhere: A Play for an Audience of One

‘Elsewhere’ tells stories of refugees from different times and places; a Syrian refugee, a Sudanese refugee, a Venezuelan refugee and more. The play is meant to be experienced in a one on one setting; each audience member meets each of the refugees for an intimate 7 minutes encounter. A voice guides audience members on their journey through the stories. Each viewer will experience the play in a different order until the group is reunited at the end of the cycle.

Ella Iza

The production narrates the story of the residents of a building in Lebanon. The building is in bad condition and the residents want to fight for their demands to live safely in their building. They talk about pressuring those in power, but their arguments often take a sectarian turn with each resident showing off their pride for their sect and dissing that of others. While remembering their history though, they seem to stop recalling what has happened right before the civil war. Later, a journalist supposedly comes to document the residents’ calls for their rights to live safely in their building. However, it is revealed that she was actually researching something about the residents’ sects and reveals information that shocks the residents of the building. The production’s premiere was in 2018 following a series of events in Lebanon highlighting political corruption. Namely, in 2015, the garbage crisis in Lebanon was just starting and several protests were sparked because of that and very little reform has been made since then. Khabbaz’s play highlights the role of Lebanese people to rid themselves of those ideological sectarian beliefs in order to better the country. In a comedic way, he writes characters that want to improve, but find themselves struggling to denounce their own leaders’ wrongdoings.

No Demand No Supply

On the 27th of March 2016, the inquisitorial commission in Mount Lebanon raided “Chez Maurice” and “Silver” brothels in Jounieh area, east of Beirut, and saved seventy-five Syrian refugee women from what became known later as the largest sex trafficking network in the history of Lebanon. The story gained huge media attention as the women told horrifying stories about the torture and abuse they suffered at the hands of one of the lead figures of the network, which was making more than one million dollars a month according to the police reports. Few weeks after the uncovering of the story, the media lost interest in it and slowly it started fading into oblivion. No Demand No Supply aims at giving voice to the women’s stories while shedding light on an aspect that was totally disregarded in the mainstream media: the sex buyer. The play is still as relevant today as it was in 2017. The court hearings are still in progress. So far, almost three years after closing down the brothels, seven court hearings took place in which nothing really happened because some of the accused are simply not showing up at the court. The victims are still waiting for justice while Imad Al-Rihawi, the trafficker who was in charge of managing the network and torturing the women, was released on a 20 million Lebanese pound (approximately 13 thousand dollars) bail on June 20, 2017, and Fawaz Ali Al-Hassan, the head of the network, was never caught.

Anbara

The play begins the day of Anbara’s veiling ceremony at the age of ten and ends the day she finally revolts against the veil in 1927 at the age of 30. The play is a historical docu-drama that tackles Anbara’s life and the stages of her maturity. At the young age of 16, Anbara took an active part in establishing one of the first women’s organization in Lebanon and possibly in the Arab World. By the age of 18 she was defying her family by meeting with her fiancé in secret. As an activist, Anbara and her contemporaries realized early on that women must have a role equal to that of men in their nationalist struggle. To play her part, she devoted herself to promoting women’s rights and women’s education.

Heavens

Heavens closes the chapter of historical research we started in 2012 with Perform-Autopsy. Through this research, we gained insight into the private-public relationship with history. It revealed our incomplete historical empire: the curse of repetition and echoes, our fragile reality and selves, the breath-constricting anxiety when we attempt to bury the rubble of the past in denial and reconstruction, the fear, hatred and self-loathing at the thought of our murderers and reality silencers – and our victims, anxiousness over our struggles, actions and betrayals, nostalgia that sinks us in past events somehow linked to us.In this work, we come to a self realization as individuals. We have become what we lost and we have lost what we have become. Our history has reduced us to numbers that fuel a destructive controversy. We challenge that which paralyses us and denies us a future. Between the here and the there, the now and the then, recollecting our memories and our losses. On stage, we stand up so we can see, we speak out so that we may hear, we tell our stories so we can realize ourselves.