Photo Credit: Tony Duvall
The Milwaukee Repertory Theater continues its four-year cycle of plays by celebrated Brookfield native Ayad Akhtar with The Who and the What. The piece is loosely based on William Shakespeare’s The Taming of the Shrew, but the subject matter and plot go well beyond The Bard’s controversial foray into gender politics to create a realistic and engrossing tale of a modern American Muslim family.
The beautiful, vivacious younger sister, Mahwish (Nikita Tewani) is disallowed to marry by her traditional father, Afzal (Brian Abraham), until her highly educated and intelligent elder sister, Zarina (Soraya Broukhim), is wed. Although Zarina is more interested in writing her book than finding a husband, her father goes to great lengths posing as her on a Muslim dating website and, in this way, sets her up with an earnest young white convert to Islam, Eli (Ben Kahre).
The strength of Akhtar’s writing lies in its use of naturalistic conversation to explore controversial issues. In a particularly memorable scene, Zarina and Eli argue about the impact her book may have on the faithful Islamic community. Zarina hopes to explore the humanity—“the who,” rather than the conventionally accepted “what”—of the Prophet Muhammad, while also confronting “what Islam does to women.” Eli fears that her portrait will be “unrecognizable” to the faithful, compromise the Prophet’s power as an inspirational figure and elicit retaliation against Zarina. It is just this sort of human entry point into complex issues of faith and belief that makes Akhtar’s writing brilliant.
Under May Adrales’ direction, all four actors deliver stunning performances. Tewani’s Mahwish is a nigh-tragic character for her heartbreaking and only partially described situation coupled with her unrelenting devotion to family. The actress endows Mahwish with tremendous humor and effervescent energy, making her internal conflict and external plight all the sharper. As the protagonist, Zarina, Broukhim is commendable for fulfilling the deep nuances written into her role. She is alternately a devoted daughter, a Muslim and a radical feminist scholar. Watching her struggle to reconcile her own “who” and “what” through this scholarly and artistic journey is riveting.
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Abraham’s Afzal is undeniably charismatic and likeable, even though his character makes statements about the need for women to “be broken” that make many audience members audibly cringe. This actor, too, does an excellent job revealing the complicated nature of his character’s humanity. Finally, as Eli, Kahre adeptly provides a foil to Afzal’s traditional belief structure. The character is a social justice-minded young Imam, fully in love with Zarina; his endeavor to resolve his two loves—for his congregation and his wife—is understated and genuine.
Scenic elements contribute much to the success of this production as well, especially Andrew Boyce’s stunning set design. The Stiemke is transformed into a versatile interior of the family’s home (and limited outside locations) through vibrant cobalt tiling, tasteful furnishings and, most interestingly, a back wall decorated with a cut-out Islamic geometric motif that fades from full patterning to solid wall, right to left. Perhaps suggestive of cultural or religious subsumption within an alien society, this design element, like the rest of the show, is moving and provocative without being heavy-handed.
Through Nov. 5 at the Rep’s Stiemke Studio, 108 E. Wells St. For tickets, call 414-224-9490 or visit milwaukeerep.com.
