As the fresh optimism of the Arab Spring hangs in the air, four strangers forge a fast and deep bond at a wedding in Tunisia. Returning from exile in the West, Amira (Antonia Salib) is a revolutionary who helped spearhead the uprisings in her own country. Eve (Gamze Sanli) is a peripatetic Turkish journalist, aspiring to write her first novel. Maryam (Livia Arditti) is a churlish Egyptian academic whose irritability hides a greater torment. All three gravitate towards the older and somewhat mysterious Madame Lilla (Nicole Ansari-Cox).

When Amira expresses interest in setting up her own dance academy, Lilla offers to bankroll the project. It’s not, however, without conditions. All three must accompany her on a revenge mission to Syria. Initially apprehensive, the younger women take up her dubious offer, each driven by their own personal exigencies. As all four voyage across North Africa and the Middle East, Madame Lilla keeps her acolytes in the dark as much as possible, misdirecting with suspect anecdotes and invented feminist aphorisms. Maryam remains guarded, demanding answers whilst trying, unsuccessfully, not to be waylaid by Lilla’s charms.

Based on the novel of the same name by acclaimed Turkish writer, Ece Temelkuran and adapted for stage by Leyla Nazli, Women Who Blow on Knots is not short on intrigue. As the play’s centre-piece, Ansari-Cox is certainly commanding and unapologetic. Sanli’s understated turn as Eve leaves a lasting impression; even more so the versatility of ensemble cast member, Mercedes Assad.

It is nonetheless a pity that the casting doesn’t reflect the diversity of the region. The Maghreb is not uniformly Arab or Berber, with populations comprised also of Black Africans and those of mixed-Black African heritage.

More generally, there’s something fundamentally unsatisfying about …Knots. This is more likely down to the source material than Nazli’s or director Lerzan Pamir’s interpretation. Much like Lilla’s antics, there’s a sense of being hoodwinked. There are one too many enticing subplots which ultimately turn out to be flimsy, implausible and/or underwhelming. It’s also difficult to connect with the protagonists. Maryam’s healthy suspicion is refreshing until it dissolves into fandom for Madame. Most problematic of all is the persona of Lilla herself; often heartless, selfish and manipulative. That she’s so dislikeable would be less of an issue if she didn’t command some bizarre, Stockholm-like loyalty amongst her milieu, past and present. It speaks to some misguided notions of feminism, where a certain ruthlessness tolerated – if not admired – as part of patriarchy is (mis)interpreted as an asset to be emulated.

Women Who Blow on Knots is thus a curious cocktail of ambivalence-inducing characters, almost-thrills and one too many anti-climaxes.

Personnel:

Directed by Lerzan Pamir 

Adaptation – Leyla Nazli 

Balim Kar – Assistant Director

Defne Özdoğan – Wardrobe

Neil Irish – Designer

Richard Williamson – Lighting

Starring:

Nicole Ansari-Cox – Lilla

Livia Arditti – Maryam

Mercedes Assad – Ensemble

Öncel Camcı – Ensemble

Sara Diab – Ensemble

Antonia Salib – Amira

Gamze Sanli – Eve

This review also features on the blog I Was Just Thinking…