Infidel

Reviewed by Iris Mann
Whitefire Theatre
Through October 7

It is difficult to ascertain exactly what playwright Christopher Vened is trying to accomplish in this play about an American anthropologist held hostage by Muslim terrorists. In the press release, he’s quoted as saying that he wanted to “humanize these radicals and liberate them from their fanaticism.” That is a daunting task. In last year’s Hostage, playwright Michelle Kholos Brooks did manage to give an Iranian terrorist human dimension by having him recount the killing of his four-year-old son in a raid by the Shah’s secret police. As drawn here, however, the hostage-takers come across as childish, fanatical and brutal. They are also unsophisticated and intellectually limited; some of them are unable to distinguish between collecting pagan statues for study and worshipping those idols, considered blasphemous by a monotheistic Islam.

At times the play does seem to be promoting Islam, or at least giving us a beginning tutorial in the faith. The prisoner, John Norton (Ted Monte), seems interested in learning about the religion and reads aloud from the Koran. He obtains rudimentary instruction in Islamic practice at the behest of his captors, with whom at one point he prays. It is unclear whether his interest is genuine or feigned in order to mollify his guards — even though, when he is temporarily able to take possession of a weapon, he threatens to shoot one of them in order to escape.

It is also confusing to have Norton act out pieces of the epic poem about Gilgamesh, a king whose reign supposedly dates back almost 3,000 years. As an art expert, he has purchased an old tablet on which parts of the Gilgamesh legend are inscribed in cuneiform writing. Given that he has been bound and subjected to harsh physical treatment, his lightness, animated state and enthusiasm during his recounting of the poem seem incongruous.

Despite the flaws in his writing, however, Vened has done a very credible job as director, staging the action smoothly on a bare stage and focusing his actors adeptly. The cast performs, for the most part, with deep involvement.

Monte gives a very skillful interpretation of Norton, navigating the frequently confusing transitions with aplomb and complete commitment. He transitions effortlessly from a frightened, abused and suffering prisoner to an enraged victim holding a gun and bent on escape.

As Zakir, the leader of the terrorist group interested mainly in the ransom money, Michel Wakim projects a coldness and determination that distinctly captures a specific type of revolutionary. He also portrays the scholarly, devoted museum curator, Ahmed, and does it so well that one doesn’t realize it is the same actor in both roles until one reads the program.

And Bobak Cyrus Bakhtiari is so convincing as the ultra-religious Amir that at times one respects his sincerity. In the end, though, the blind fanaticism that destroys his intellect becomes infuriating; it wipes away any ability of his to think logically and turns him into a violent crusader.

In the role of Kasim, Norton’s primary guard and the most sadistic of the bunch, Nima Jafari is an intimidating presence, giving off an ever-present sense of menace. Just as Norton is thrown off balance by this character, the audience is never quite sure if Kasim will kill the hostage or if he is just tormenting the prisoner for sport.

On the other hand, Ronak Gandhi, as the Brit with an Arabic heritage, plays a mellower, more malleable young man who is certain that he will die as a warrior for the cause. While Gandhi displays emotions fitting for his character, he needs to soften his Cockney accent, which is so thick that it renders much of his dialogue unintelligible.

The weakest link is Aneesha Madhok as Jamil’s wife, Myiesha, the most reasonable, understanding person among the captors. Madhok embodies her character’s main qualities adequately, but her speech and demeanor are so American that it is jarring.

Finally, Edwin Scheibner hits just the right note in his brief role as the American ambassador who says his government does not negotiate with terrorists, while Moses Leon Norton proves expert at pantomime when appearing as the statue of a god that gets smashed to pieces.

The play is immeasurably enhanced by Sean T. Cawelti’s expert projection design, which provides a sense of the setting, as well as wonderful animation during the recitation of the Epic of Gilgamesh. Kudos for this.

Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks; Sat., 8 p.m.; Sun., 3 p.m.; through Oct. 7. (323) 960-7738 or www.whitefiretheatre.com. Running time: 90 minutes with no intermission.