During my life, I performed by the Iranian Theater manufacturer Ashbani Pabara (Babilla) Escape Tehran during the revolution. Babilla’s profanity comedy is very unique even in the avant -garde fanaticism. He wrote and directed the carnival of camping, from the mythical enthusiasm to the faint joy. His title is: Lurid’s title, creepy props, and exposed nakedness. Over the years, I have worked with other members of Babilla and other members of Iranian diasporas and never mastered their language. Of course, I used to give a speech at Farsi, but the only sentence I reserved was my dear. The mentor who left taught me and followed the rude expression of the lines of “Kiss my ass”. I regret that I lack Persian, this is a role English Said always longing for poetry. A gain in the drama that Sanaz Toossi struggled gently was that no matter what the intensity of desire, we could not really enter the poem in another language. In immigration to a strange term, only one is divided into two.
Not all TOOSSI characters are under the same pressure, trying to remember the decision -making of indefinitely. Every Iranian is training English as a foreign language (TOEFL) (taught by sweet patient Marjan (Marjan Neshat)), which is the “VAHT” that they emphasize in “what” their own reasons. Pooya Mohseni has a son who lives in Canada, and his wife insists that her mother -in -law will fluent before flying. Ava Lalezarzadeh, a young and bubble, said in the queen’s E. chat. Omid (Hadi Tabbal) is a mystery: The accent that he could hardly detect, no one knows why he enters school. Finally, the class trouble manufacturer Elham (TALA Ashe). Elham’s brash is competitive, but it is prone to spasm of insecurity. He has been at HE TOEFL five times and failed. She wanted to study gastrointestinal disease in Australia, but despised English and found it “unnatural”. In contrast, Marjan has lived in the UK for nine years and acknowledged: “I always like my English more.”
When the action moves with realistic registers, toossi captures the bilingual quality of the text with a clean drama device: when the character speak English, they will have accent, mild or dense. When they say Farsi, it is still English, but relaxing and unwritten, making them understand their true self. It is understandable for us. Finally, when Marjan and Elham exchanged a few lines in Farsi, the English audience found that (briefly) was banned from understanding.
In a series of relatively short power outage scenes, it covers the six weeks of Marjan’s course. We watched coaches and students worked hard in dialogue skills-to achieve progress, setbacks, and each other’s tension. This collective drama is more like a theme -centered atmosphere than the theme of the plot. Therefore, do not expect love affairs or government to compress to enter the picture. Politics will only appear only when Elham approved Goli:
Sometimes, the Persian Empire continues to grow, and I have an amazing dream. Emperor Selus is still our king. British, everyone tells us what to say and how to say, not Americans, all of us will say ErxiEssence
Of course, Elham’s fantasy seemed a bit like a dialogue, but she put forward important significance. Mastering English is not only the expansion of the personal boundaries of each student, but also the hidden behavior of self -colonization: escape new restrictions. We began to distinguish between a yawn between Roya and her son, and there was no drilling verb to fill. The attractive dance between Omid and Marjan has both calories and melancholy. His excellent speaking skills (final explanation) made the English teacher happy, and the latter married a single -language Iranian after returning home, “tired” to live abroad. What story is that? We didn’t find it. Toossi tends to draw sketches, relying on subtext, and living in a certain extent to maintain shadow. Such a shorthand means that at 100 minutes, the script has exhausted the character’s back story and social linguistic observation to some extent. (There are only many ways for a person to say that they feel stranded between different voice modes.)
If the script is seductive, a very attractive actor will fill the negative space. Neshat is a radiation that can model the bottticelli Madonna. He places the center of the story in the center of the story with a humorous attitude (and painful flashing self -doubt). The powerful Ashe cleverly stepped on the boundaries between the cruel and fragile of Elham, and Lalezarzadeh became the cute foil of natural optimists. Tabball has a more tricky task in the process of hiding Omid’s secret agenda. Mohseni exited from movement to the end, but when ROYA was bathing in chemical yellow light and left a sharp and dignified voice email for her long -distance children, there was a moving night scene. Performers can easily become one of the most cohesive ensembles in my past few years, and there is almost no kind or despicable behavior to resonate loudly.
English In 2022, it premiered at the Atlantic Theater Company. The next year, Toossi won the Pulitzer Award. Now, I Establish Earlier iterations were fascinating. This was an independent movie desired, with the light of magic time, suggesting that Terrence Malick performed next to Broadway. Knud Adams transformed his impeccable works into a venue for Broadway without losing any original intimate or fine naturalism. The director cleverly brought his highest designer to the Atlantic: Marsha Ginsberg, her modularity, the departure classroom rotated in the black gap; Reza Behjat filtered through the light amber curtain filtering The evocative sun and street lights; and the costumes of Enver Chakartash-scarves wearing jewelry tones and accessories on Western street clothing. Between this very concentrated and sensitive stage and his powerless treatment Main trustAdams must be the vision board of every young drama writer. No matter what dialect he said, this is gratifying. The madness of my mentor Babilla, more experimental taste, but even he would listen to the music of mother tongue even with a smile.
English | 1 hour and 40 minutes. No midfielder rest. | Todd Hems Theater | 227 West 42nd Street | 212-719-1300 | | Buy tickets here
