Displaying items by tag: The Kite Runner

First on the stage was Tabla artist Salar Nader, considered Afghanistan’s premier virtuoso on the tabla. His unceasing accompaniment was at times almost subliminal, then bursting out with intentional significance, but ever present, keeping us firmly rooted in Afghani culture … though I hadn’t been aware that in August 2021 the Taliban banned music in Afghanistan. Welcome to the States, Salar!

THE KITE RUNNER is based on the book by Khaled Hosseini, adapted for the stage by Matthew Spangler. Be warned that THE KITE RUNNER is not a light-hearted tale of boys frolicking in fields; many scenes in THE KITE RUNNER will be triggering to many people. These duplicities and complexities are what make THE KITE RUNNER a superb story.

Amir is the protagonist and narrator of the story, splendidly played by Ramzi Khalaf.  Fitting, as Amir’s talent for writing and storytelling is a key factor in his relationship with his father Baba (Haythem Noor), who is bitterly disappointed that his son is not interested in the games of ‘real men’, like soccer.

One game that Amir is enthusiastic about is Kabul’s annual Kite Fighting contest. Kite fighting is a two-man team sport: Amir directs and steers the kite while the glass-edged line is reeled out by kite runner Hassan, ardently played by Shahzeb Zahid Hussain. This relationship between Amir and Hassan is a central and enduring theme throughout THE KITE RUNNER.  

In Kabul kite fighting the kite strings are sharp and the sole objective is to use the tension of your string to cut all your opponent’s kite strings: the game is over when there is but one kite remaining in the sky. The runner’s role is to keep continual fixity on the line: just enough traction to make the string a weapon. There are no other rules … except, of course, that only boys can play.

Salar Nadar in The Kite Runner National Tour 

Amir and Hassan are closer than brothers: born into the same house, they nurse at the same (wetnurse’) breast, they take their first step together, and they speak their first words the same day: Amir’s first word is “Baba”, while Hassan’s is “Amir”. Though they live in the same estate, Amir and Baba sleep in the palatial house, all marble walls and crystal chandeliers, while Hassan and his father Ali (Hassan Nazari-Robati) live in a mud hut against the wall of the compound. The bonds of loyalty, Baba to his servant Ali and Amir to Hassan, are strong despite Baba and Amir being Pashtun, practicing Sunni Islam, while Ali and Hassan are ethnic Hazara and Shi’a Muslims. Throughout the story Amir struggles to navigate his feelings of ethnic superiority over the natural bonds of friendship: ‘But he’s not my friend! I almost blurted. He’s my servant!’ … and ‘Why did I play with Hassan only when no one else was around?’  

The Pashtun’s genetic elitism manifests in their relationships: meek, humble Ali would never dream of sullying his fealty to his lifelong master, any more than Hassan would renege on his allegiance to Amir. Both Pashtun men, however, deceive and betray the Hazara men they love dearly. Prejudice against Hazara is widespread: Hassan is often bullied by Assef (Wiley Naman Strasser) and his brutish cronies; Amir usually defends him… usually.

BTW: Any of this sound familiar? THE KITE RUNNER is totally relevant to 2024.

The production was splendidly directed by Giles Croft, with the able assistance of Cultural Advisor and Dialect Coach Humaira Ghilzai, who has meticulously crafted every detail to accurately reflect the glory of Afghan culture, particularly the Nikah (wedding) ceremony and the sparkling Afghan national dance, attan; I’ll wager Movement Director Kitty Winter had real fun with this!

The production crew was outstanding. The minimalist sets by Barney George were perfect to contain the complexities of the script. I loved how the curtains were triangular, like kites, and how their color changed via Lighting Designer Charles Balfour. The work of Musical Supervisor Jonathan Girling, Sound Designer Drew Baumohl and Projection Designer William Simpson allowed us to differentiate our location as the story moved from Kabul to San Francisco, from the kite-fighting fields to the cramped and sterile offices at Immigration. I need to give a shoutout to Fight Consultant Thomas Schall; he had a lot of work in this production and the fights came off flawlessly.

I always make sure to praise the Stage Manager. I once asked my friend and Thespian oracle, “so what does a Stage Manager do?” to which they replied: “Everything.” So, thanks, Giles T Horne, for doing Everything and doing it Well.

What makes THE KITE RUNNER truly remarkable is its complexity. The characters are multi-dimensional and expertly crafted out. The hostile Russian occupation of Afghanistan leaves deep scars; when the only oncologist Amir can find to care for Baba has Russian parents, Baba refuses, preferring death to fraternization.

The horror, however, was well balanced. Just when I thought I couldn’t take another barbarity, a word or a skillful mannerism would make me chuckle … and thank Whoever for that! cos there’s plenty of barbarity. THE KITE RUNNER is unquestionably a tragedy, but not irretrievable; Hassan’s final message to Amir said: ‘There is a way to be good again.’ *

VERY HIGHLY RECOMMENDED!

Playing through June 23; two shows on Saturday 6/15 at CIBC Theatre

*BTW, you can get a t-shirt printed with that legend in the lobby