The theme was traditional - a children's fairytale exploring the traditions of Christmas. The production, however, was a searing Brechtian polemic that dwarfed the limited creative space and permitted the actors to wrestle with their immediate environment even as they grew beyond it.
One does not invoke the unquiet ghost of Brecht lightly, but here there is little doubt what the directors - a quite deliberately raggle-taggle cooperative that achieves every creative decision through painstaking negotiation with the cast - were seeking to achieve.
Like Brecht, it is their absolute determination that you should never be in any doubt you are watching a play. No coy flights of artifice and illusion here. From the sparseness of the set - nought but stage blocks and a humble tin foil star suspended above - to the homemade feel of the costumes, one never truly leaves the here and now, even if one is occasionally transported to another, perhaps surreal, place by the performances. Indeed, the actors constantly wrestle with their costumes, ceaselessly fidgeting and fretting as if to escape even these small concessions to theatrical tradition.
But the Epic Brecht is also here, fervidly wringing the immense tract of history from every gesture and utterance. The themes are prosaic enough. The innkeeper cannot sleep. But this is no introspective story of the fleshly travails of the insomniac. Here, insomnia is the vehicle upon which is laden the collective burdens of humanity.
Why can the innkeeper not sleep? He cannot sleep for the seemingly endless procession of visitors at his door; sinister in their nocturnal perambulations and yet strangely naive in their humble requests, first for board and lodging, later for directions to a mysterious "new arrival".
More than a nod is given to Beckett, such that this is less Looking for Jesus than it is Waiting for Godot. Consider the weighty, excruciating pauses; the broken dialogue; the
sotto voce mouthing of one another's lines; and the uneven delivery - sometimes frighteningly blank, at other times wrought with violent emotion. "Round the back!" roars the innkeeper as yet more strangers assail his door in the depths of night.
What do these strangers want? What does it all mean? I am but a humble critic, but I would hazard that this play is about nothing less than world peace. Humanity is constantly roused from dumb slumber by the interjection of conflict. But it is the slumber itself - the somnambulant failure to deal proactively with the base, warlike instincts of men - that is the metaphorical elephant in the room.
Seasoned theatre-goers may find such lofty ambition too idealistic - nay, trite even - for their blood, but for the extraordinary denouement. For, in the end, the innkeeper and his long-suffering wife (here played as a withering satire on the changing-yet-permanent roles of women in post-industrial society) succumb to their curiosity and do go "round the back".
For a moment, you are dangled in suspense. What will they find? Some hellish Bacchanal; a bloody injunction against the interventionist, militarist tendency in Western political discourse? A crashing termination of hope on the altar of intolerance? The void?
No. Rather, the play discerns a brighter future for us all through the power of collective will. What this play says is that all it takes for war to end and dictators to fall is for us to join together and speak the words. There is an unspeakably powerful moment at the finish when the marvellous ensemble cast join together in a song, some waving to individual members if the audience; all smiling; inviting you, the passive viewer of the piece to interact; to leave your innkeeper-like slumber and feel the awesome potential of this theatrical Arab Spring.
It is rare indeed that this hardbitten theatre critic finds nothing to criticise, but let it be said that this production, so deceptively simple yet so breathtaking in scope and ambition, was nothing short of perfection. Bravo.