Unapologetic, piercing and bittersweet… we all have families and we all have secrets.
Lady Tabouli is James Elazzi‘s unflinching clash of cultures and a searing look at how expectations can eat away at us until we decide to change the rules.
It’s the day of his nephew’s baptism and Danny is godfather. Living back home with his religious Lebanese mother, he’s thrown into the maelstrom of preparations and high emotions: God forbid this christening comes second to the Boustanis’! The family can’t afford to lose face, especially with Danny recently and mysteriously calling off his engagement. But secrets will out, and amidst the sugared almonds and balloon deliveries, Danny discovers the true colours of those to whom he’s closest. Where do you turn when the people you love refuse to accept the truth?
Lady Tabouli is a searing look at how expectations can eat away at us until we decide to change the rules. What inspired the creation of this work, and why did you want to take this story to Riverside Theatres?
I’ve always believed in questioning everything that I have been taught and the social structures that exists around me. I have never been content in just accepting or following what I’ve been told because it has just ‘always existed’. It needs to make sense and if it doesn’t, I explore it. My writing is just another facet of this, where I don’t shy away from or hide what I believe is the truth in my own perspective.
Lady Tabouli was first featured as part of Griffin Theatre’s Batch Festival, where it showed to a sold-out season. Did showing the work at Batch Festival trigger further development of the work, and if so, how has this work developed since its first iteration?
It was a huge surprise to have such a massive interest in the show. More so, people’s reactions after the show, the way they connected with it, how it spoke to them etc., prompted me to take a step back, and really work on finessing and making the show the best possible version it can be. What was shown at Batch was an early development, so I can confidently say: Lady Tabouli has now blossomed into this beautiful monster.
Your works frequently explore Lebanese stories, and in particular those that intersect with queerness. Why do you think it’s so important to be giving a voice to these stories in 2019/2020?
I don’t think there is enough conversation (publicly) about the issues I have embedded in my work. There are a lot of people that suffer in silence, a lot of individuals that feel disconnected. We live in a society that is so quick to judge and sweep under the rug. My hope with Lady Tabouli is that I bring to surface the hypocrisy that I have dealt with, within my own community. My work is current and doesn’t give any grey area: it’s black and white and clear cut with what I want to say.
What do you hope to achieve with Lady Tabouli? What can audiences expect from this work?
My hope is that Lady Tabouli is the cause of conversation, eventually leading to change. Conversations that have always seemed taboo, things that people just don’t talk about, I believe should be spoken about. My hope is that those that feel alone or that are struggling with certain themes in the show, or have in the past, will see themselves reflected on that stage. It is so important to me to see my community, myself, and the people around me reflected on stage.
Audiences can expect a big colouful, funny, tragic, cruel, beautiful journey.
RAPID FIRE QUESTIONS:
Favourite production you have ever seen?
Wicked
You’re getting on a plane tomorrow and you can go anywhere in the world, where do you go?
Paris
Dream show to perform in?
Billy Elliot
Plays or musicals?
Plays
A hobby you have beyond the theatre?
Music collector
What’s next for you after this show?
Son of Byblos at Belvoir
Lady Tabouli opens at Riverside Parramatta on January 9 as part of Sydney Festival. You can get your tickets here.
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