A Gem of Gender Splendor

Layalina

Little does a multigenerational Assyrian family, living in Baghdad in 2003, realize they’re about to undergo a huge change. The month of March that year was a turbulent time for Iraqi citizens as a United States-led coalition invaded the country to help overthrow the brutal government of Saddam Hussein. A joint resolution of Congress claimed the invasion would disarm Iraq of weapons of mass destruction, a knee-jerk reaction to 9/11. In addition, it sought to end Hussein’s reign of terrorism and free the Iraqi people. The War would continue for the next eight more years, claiming many thousands of lives.

The War would have an additional effect on the Ibrahim family, which is where playwright Martin Yousif Zebari focuses the heart of his drama. Despite the trauma of war, this family’s hoping to immigrate to America, but complications arise. Still, the family remains fiercely devoted to each other. But they’re just like any other family. These people argue, irritate one another, share their dreams and aspirations, make each other laugh and cry, then comfort and love each other unconditionally. But sometimes, as we see, they disappoint their parents and siblings, and Zebari doesn’t shy away from these moments.

The play begins in the evening, which is the literal translation of the title, as married couple Sahir and Layal return to the young bride’s home for a family dinner celebration. They’re greeted by Layal’s devoted brother, Mazin, their mother, Karima, and father, Yasir. Their two younger siblings, Marwa and Yousif, are heard but unseen in Act I. They’re upstairs playing now, but we will meet them years later when they’ve become young adults. We learn that the newlyweds will soon escape the horrors of War by immigrating to Skokie, where they’ll live with Sahir’s family in a fine, new house. Also, since their application for immigration has been denied for now, Karima and Yasir have asked their daughter and son-in-law to consider taking the younger siblings with them. Once the Iraqi government loosens immigration restrictions, Karima and Yasir will join them. Mazin, who’s secretly gay, has a crush on Sahir. He also knows that in the months ahead he’ll be obligated by law to serve in the Iraqi Army. Together that night, the two young men leave the family house to attend a political protest, but it will end tragically.

In Act II the play shifts to Skokie, Illinois, and the year is now 2020. There’s an expectation that the set, designed by the creative and production studio, casaboyce, will look markedly different following the intermission. After all, we’re now in the United States seventeen years later. But, disappointingly, it really doesn’t change very much, except for a few differences in the decor.

 The five talented actors from the first act all portray new  characters in Act II. Atra Asdou, who, as Karima, was an authoritarian mother in the first act, portrays another family matriarch, but in America. Now she plays an adult Layal, who’s working at home, trying to establish her own line of couture, while raising her young brother and sister. We finally meet Layal’s two younger siblings, to whom she’s become their surrogate parent. Becca Khalil, who played Young Layal in the first act, is a feisty and spirited non-binary young person in the second act. And handsome, smart and appealing Ali Louis Bourzgui, last seen here in the National Tour of “The Band’s Visit,” is fantastic in two roles. He plays both Young Mazin in Act I and a young adult Yousif in Act II. Interestingly, both youngsters have grown up to become gay individuals and cannabis users, which Layal defends and supports. 

Waseem Alzer is remarkably different in Act II from his first act characterization of Sahir. He’s hilarious and quite touching as Sahir’s flamboyant, gay younger brother, Amin. And actor Mattico David also does a complete about-face, having played Yasir, a domineering family patriarch in Act I, but now appears as an adult Mazin in Act II. Where his Yasir is decisive and assertive, his Mazin, who’s lived the life his parents expected, is downtrodden. He’s served in the military, entered into an arranged marriage and has two children. He’s just arrived from Australia to visit his sisters and brother in Skokie, but Covid has put a ban on all travel. So Mazin is resigned to blend into the household of his siblings for a while, which might not be the end of the world.

Sivan Battat has directed this production with flair and great sensitivity. Martin Yousif Zebari’s play had its start in a staged reading with Goodman Theatre’s Future Labs, as well as at their New Stages Festival. There’s no doubt that we’ll be hearing of further productions of “Layalina” in other locations. With lovely costuming designed and built by Dina El-Aziz, a great sound track by Eric Backus and Ronnie Malley, and fine lighting created by Jason Lynch, this is an exceptionally intoxicating story. It’s a heartwarming tale of family, love and loyalty. Zebari has written about the universality between people the world over, while delivering a strong portrayal of real LGBT+ individuals everywhere. This is truly a gem of gender splendor.     

Recommended

Reviewed by Colin Douglas

Presented March 3-April 2 by Goodman Theatre in the Owen Theatre, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by visiting www.GoodmanTheatre.org.

Additional information about this and other area productions can be found at www.theatreinchicago.com.