Safe Haven Review: A Diplomatic Drama's Missed Opportunity
The 1991 Kurdish uprising in Iraq is a pivotal moment in history, and the stage is set for a gripping drama. But the play 'Safe Haven' falls short of capturing the essence of this tumultuous period, leaving the audience yearning for more.
The story unfolds amidst a sea of diplomats, with a particular focus on the Whitehall contingent. These characters, with their clipped tones, discuss the Kurds hiding in the mountains, vulnerable to Saddam Hussein's forces. Among them is Al-Tikriti, Saddam's half-brother, and Chris Bowers, the playwright himself, a former British diplomat in Iraqi Kurdistan. Bowers' personal connection adds a layer of authenticity to the narrative, but it's not enough to elevate the drama.
Clive (Richard Lynson) and Catherine (Beth Burrows) take center stage as the heroes of this diplomatic tale. They provide the political context, navigating the transition from Margaret Thatcher to John Major's leadership. However, the play's strength lies more in its strategic planning and maneuvering than in intense dialogue or action sequences. The American general's bluster and his attempts to thwart their safe haven idea (eventually leading to Operation Safe Haven) hint at political intrigue, but the execution lacks the necessary pace and depth.
Directed by Mark Giesser, the play jumps between Whitehall, press conferences, Clive's garden, and the Iraqi mountains. These settings feel too functional, prioritizing exposition over emotional depth. The characters are one-dimensional, with stilted performances. Clive, in particular, is as dull as one of Major's grey suits, relying on predictable cricketing metaphors. Catherine, too, lacks the spark needed to captivate the audience.
The Kurdish experience is only partially captured through brief scenes of a pregnant woman, Najat (Eugenie Bouda), and her companion, hiding in the mountains. The terror they face is hinted at, but the audience craves a deeper exploration of the Kurdish struggle. The brother, a doctor and activist, who appeals to Catherine, is a glimmer of the human drama that could have been delved into.
'Safe Haven' overlooks a crucial aspect of Iraq's history, overshadowed by the invasion of Kuwait and the subsequent US invasion of Iraq. The play deserves a more nuanced portrayal of the political complexity and emotional turmoil on the ground. The audience is left wanting a more comprehensive exploration of the Kurdish experience, the debates, and the strategic maneuvers amidst the mountains.
*Arcola Theatre, London, until February 7th: https://www.arcolatheatre.com/event/safe-haven/
