What would you sacrifice for someone you love? Would you risk getting shot, stop your studies, give up your marriage? Would you travel across oceans, across countries, across The Green Line? Makram Ayache’s The Green Line, translation by Hiba Sleiman, is a heartbreaking story of queer romances and familial ties which span generations. A pointed and poignant reminder of the tenacity of love in times of both war and peace, The Green Line is a hauntingly beautiful story you won’t soon forget.

A large square of what appears to be concrete occupies the majority of the stage, rubble and bricks of all sorts surrounding it; it immediately alerts us to the state of the world we’re entering into. Hanging from the ceiling are bits of greenery, the tops of the trees, with chain trunks dangling down to the floor. Anahita Dehbonehie’s set design, along with Jareth Li and Kit Norman’s lighting design, create this intricate playground upon which the performers get to tell their story. From the raked stage to the use of the upper balcony, the whole room becomes part of these parallel worlds the characters inhabit.

Part of the set design, and overall ethos of the production, are two screens which feature surtitles designed by Christopher-Elizabeth and operated by Dina Saleem. Both screens show English surtitles for the 2018 portion of the play, however in 1978, there are both Arabic and English surtitles, one on each screen. The Arabic surtitles are a nod to the fact that the characters in the 1978 timeline would usually be speaking their native language, rather than what we hear. More than a simple accessibility feature, these surtitles help cement the time and place as well.

Sitting on stage as the audience enters, is Rami (played by Oshen Aoun). He’s looking at a photograph of his father, Naseeb (also played by Aoun) whom he has just buried in his home country of Lebanon. The action begins as Rami makes his way to a gay bar in Beirut, where he meets the fabulous Fifi (Waseem Alzer), a drag queen whose phoenix-style costume immediately gets Rami’s attention. The two instantly connect, but when Rami begins to ask questions about the civil war which ravaged Lebanon for nearly two decades, Fifi, or rather Zidan, becomes immediately uncomfortable. Juxtaposed against this story of connection in more peaceful times, is that of Naseeb and his sister, Mona (Zaynna Khalife). Mona is studying to be an engineer, like her father before her, and she’s becoming close with one of her classmates, Yara (Basma Baydoun). While Mona focuses on her studies, Naseeb spends his time with the older men in their neighbourhood, slowly becoming more militant in his opinions and actions. Despite Yara’s marriage, Mona falls madly in love with her, and the two plan to run away together, using Mona and Haseeb’s move to the mountains as cover. Is it possible for the two women to find peace in a time of war? And how will Rami reckon with his father’s past, particularly once he’s standing right in front of his father’s old apartment?

As both writer and director, Ayache expertly weaves these stories – full of heartbreaking similarities but also vast differences, we feel the characters move through the play in parallel. This is also, in part, due to Aoun playing both Rami and Naseeb. This is a brilliant casting choice, as we’re able to see the stark changes from one generation to the next embodied in a single human. It’s also emblematic of the responsibility Rami feels in this moment; he is carrying out his father’s final wishes, not yet knowing the immense impact it’s likely going to have on his life and the potential dark history he’ll uncover in doing so. The final scene ties the play together beautifully, and though the sniffles around the room had started long before, by that exquisite ending there’s hardly a dry eye in the house.

Aoun is a powerful Rami/Naseeb; shining in both roles, Aoun is at times passionate, at others fearsome. Khalife brings a heartfelt vulnerability to Mona, making her character all the more tragic yet strong. Baydoun’s Yara is tenacious; to watch her character growth and how she embodies that blooming and knowledge is absolutely stunning. Alzer’s Fifi is a glorious bearded queen who would definitely get my tip money, while Zidan is an effervescent ray of sunshine, and the perfect foil to Aoun’s Rami. This cast works so beautifully together, and you can tell that they feel the gravity and soul of the story they’re telling.

We watch horrors on our phones and TVs every day; it’s inescapable. Yet The Green Line serves as a reminder of the bright moments within the darkness, of the love which can survive the divides, the hurt, everything. The Green Line packs generations of hope into a single, moving story which will stay with you long after you leave the theatre.

The Green Line runs at Buddies in Bad Times Theatre until October 4. For more information and tickets, visit: https://buddiesinbadtimes.com/show/the-green-line/

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Cover photo: Basma Baydoun, Zaynna Khalife. Photo by Jeremy Mimnagh. set + costume design by Anahita Dehbonehie, lighting design by Jareth Li + Kit Norman.

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You can listen to my chat with Author/Director Makram Ayache here: https://aviewfromthebox.net/a-view-from-the-box-the-podcast/ or wherever you listen to your podcasts!

You can also listen to The Green Line as an audio drama on PlayMe’s podcast here: https://www.playmepodcast.com/our-shows/the-green-line

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