Opposites Do Attract

Hatefuck

In the final hours of a party to promote a fellow writer, given by Imran, a successful Muslim author, he notices an attractive woman standing alone on the other side of the room. Imran recognizes that, like him, she’s also Muslim. Layla is a liberal literature professor at Wayne State University who accuses Imran of spreading sensationalized antiMuslim stereotypes through his popular, but violent, sexist novels. She taunts him and hurls insults at the cocky, young writer and he, not to be sneered at, returns the favor. As the verbal munitions fly fast and furious something unexpected happens. Imran and Layla find themselves sexually aroused and, before you know it, they’re  ripping off clothing and rolling round together in passion. Obviously this is proof that opposites do attract.

In this fast-paced two-hander by Rehana Lew Mirza, the award-winning playwright of “A People’s Guide to History in the Time of Here and Now,” “Soldier X” and “Neighborhood Watch,” angry words fly fast and furious. Language becomes ammunition, constantly used to hurt and humiliate each other, but which progresses into scenes of uncontrollable passion. The playwright has packed so many thought-provoking ideas and perceptions into this one-act, including some much unexpected comedy, that this production often leaves the audience as breathless as the characters. 

Director Arti Ishak oversees this production with intelligence and sensitivity. They instill a smart, razor sharpness and a fearless way of putting it all out there. Ishak has demonstrated their talents as both a director and actor at many Chicago theatres, such as Haven, Jackalope, Second City and Writers. Don’t shut your phone off until you’ve looked at the extensive materials that Arti Ishak has provided to enhance the audience’s understanding, including a heartfelt Note From the Director, Facts About Islam, a list of Resource Organizations and an extensive glossary of Terms to Know. Then you should turn it off. 

A nod of sincere appreciation goes out to the Production Team, as well. A sparse, but appropriately economical scenic design is provided by Paloma Locsin; Vianey Salazar and Troy Cruz have created excellent lighting and sound designs to enhance this production, as well. Isaac Pineda’s costumes not only befit the characters, but are easily removed and replaced; and huge praise for the almost nonstop fight and intimacy direction guided by Samantha Kaufman. Without her work this production wouldn’t be the same.

After several days pass, Layla returns to Imran’s plush suburban Detroit apartment where she’s left her phone, perhaps deliberately. By reading Layla’s emails, Imran has discovered that the learned lady has written a noteworthy work of nonfiction. She’s translated the writings of a Syrian refugee into English that he feels should be made available to the world. Imran offers his assistance in getting this work published, in return for Layla including his Muslim adventure/thriller novels in the syllabus for her students. Layla resists, saying she’s reluctant to further the American stereotype that all Muslims are gun-toting terrorists. The movie industry, she argues, is already filled with violent films that do nothing to alter this inaccurate belief.

Both actors in this exciting, very adult production, are excellent. With this production, each make their impressive debut with First Floor Theater. Aila Peck, who has impressed audiences in such productions as “This Wide Night” at Shattered Globe, “Birdland” at Steep, and the delightful “Miss Bennet: Christmas at Pemberley at Northlight, is magnificent as Layla. She’s aggressive, animated and extremely eloquent. Also, watch Ms. Peck’s eyes and body language because they say even more than her words. Faiz Siddique has primarily understudied at noted theaters like About Face, Northlight and the Studio Theatre, but in this production the young actor finally takes center stage, as Imran. He plays this role beautifully, showing us a self-absorbed, somewhat conceited writer who clearly relishes his belief that, in his culture particularly, males hold the upper hand. However, Imran meets his match in Layla. Like Ms. Peck, Mr. Siddique has been given a lot of dialogue in this play. It comes at the audience very quickly—so quickly that the actor often slurs or drops words at the ends of his sentences. That, however, can easily be corrected.  

Rehana Lew Mirza’s play is stuffed to the brim with interesting information, new notions and some contrasting beliefs about Islam, as shared between these two smart Muslim individuals. It should also be noted that the production filled with adult language and graphic scenes of simulated sex, and thus may be inappropriate for younger or more conservative theatergoers. 

Mirza’s plethora of ideas come at the audience so rapidly that they often overwhelm. For the non-Muslim theatergoer it may be difficult to take in and comprehend every detail. But her main themes are pronounced and obvious. Layla is smart in her belief that cliche-ridden novels, like those that Imran writes, are dangerous and contribute to other people’s unfounded fear and misunderstanding of Islam. However, as these two headstrong individuals continue hurling hurtful words at each other, we see evidence that there’s really a fine line between love and hate, and we’re also reminded that opposites do indeed attract.      

Highly Recommended

Reviewed by Colin Douglas

Presented May 5-June 10 by First Floor Theater at the the Den Theatre, 1331 N. Milwaukee Ave., Chicago.

Tickets are available at the Den box office or by going to www.firstfloortheater.com.

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