{"id":33301,"date":"2024-06-07T09:44:13","date_gmt":"2024-06-07T07:44:13","guid":{"rendered":"https:\/\/themarkaz.org\/oldmarkaz\/?p=33301"},"modified":"2025-09-05T08:09:19","modified_gmt":"2025-09-05T06:09:19","slug":"dare-not-speak-a-one-act-play","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldmarkaz\/dare-not-speak-a-one-act-play\/","title":{"rendered":"Dare Not Speak<\/em>\u2014a One-Act Play"},"content":{"rendered":"
An Iraqi playwright comments on the difficulties of writing about today\u2019s violence in a climate of suspicion and censorship..<\/span><\/h5>\n

 <\/p>\n

Hassan Abdulrazzak<\/span><\/h4>\n

 <\/p>\n

The National Theatre was lit up in the colors of the Ukrainian flag but so far has remained silent about the genocide in Gaza. In fact, very few theatres or companies have issued statements in support of Palestinians. One exception has been Arcola Theatre, which programmed the multi-author show <\/span>Cutting the Tightrope: The Divorce of Politics from Art<\/span><\/i>, instigated in response to the Arts Council England warning arts companies and those who work for them from making \u201covertly political or activist\u201d statements. It later emerged this was done after <\/span>discussions with the government<\/span><\/a> to prevent artists speaking out against the war on Gaza. Even before this revelation, we all knew why the policy revision was made. I was approached by director Cressida Brown to contribute to the show. The murder of six-year-old Hind Rajab was a story that I found particularly moving and I wanted to dramatize it in such a way as to address the issue of censorship surrounding Palestine. The result was <\/span>Dare Not Speak<\/span><\/i>. The show succeeded through a combination of word-of-mouth, social media posts and the odd review. It will return to Arcola Theatre in September 2024.<\/span><\/p>\n

 <\/p>\n

One-Act Play: Dare Not Speak<\/i><\/strong><\/h4>\n

NATALIE<\/span>
\n<\/span><\/span><\/p>\n

I\u2019m really sorry Hind, it\u2019s taken us this long to meet.<\/span><\/p>\n

HIND<\/span><\/p>\n

Eight months.<\/span><\/p>\n

NATALIE
\n<\/span><\/p>\n

The rebrand just \u2026 argh \u2026 and the budget cuts, don\u2019t get me started on the budget cuts … anyway we\u2019re here now … I am all ears.<\/span><\/p>\n

HIND
\n<\/span><\/p>\n

Shall I just go into it?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I don\u2019t mean to rush you, it\u2019s just I have a meeting with the board after this. Are you comfortable? Do you need water?<\/span><\/p>\n

HIND<\/span><\/p>\n

I am fine.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Shoot.<\/span><\/p>\n

HIND<\/span><\/p>\n

A little girl gets in a car with her uncle, aunt and cousins and they drive south. They are fleeing the occupying army which is shelling the north where they live. Their conversation is about the fighting, yes, but also about more mundane things: what they forgot to pack, the merits of practicing trigonometry even though schools have shut, should they listen to the news or to a song to calm their nerves, that sort of thing. Suddenly, the car is shot by an army tank, killing the uncle, aunt and four cousins. One of the older cousins who survives calls the Red Crescent. \u201cThey are shooting at us. We\u2019re in the car, the tank is right next to us\u201d Later, while the cousin is on the phone, she is shot dead by a soldier raking the car with his machine gun. When the dispatchers call back, only the little girl is left alive. She stays on the line with the Red Crescent for three hours, telling the dispatcher \u201cI\u2019m so scared, please come. Come take me. Please, will you come?\u201d When the Red Crescent ambulance crew finally arrive, they find the little girl dead. The play is basically the last day of the little girl\u2019s life condensed into an hour and a half.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Wow. Okay. I read that story in the news. Remind me of the girl\u2019s name?<\/span><\/p>\n

HIND<\/span><\/p>\n

Hind.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Like your name.<\/span><\/p>\n

HIND<\/span><\/p>\n

She\u2019s me.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Yes, I see. She\u2019s all of us.<\/span><\/p>\n

HIND<\/span><\/p>\n

No, she\u2019s really me.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I don\u2019t \u2026 oh \u2026 you\u2019re \u2026<\/span><\/p>\n

HIND<\/span><\/p>\n

Yes.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Dead?<\/span><\/p>\n

HIND<\/span><\/p>\n

Murdered.<\/span><\/p>\n

\"Ruth
Ruth Lass as Natalie and Sara Masry as Hind in Dare Not Speak<\/em> (photo David Monteith-Hodge (courtesy Arcola Theatre).<\/figcaption><\/figure>\n

NATALIE<\/span><\/p>\n

Wow. Okay, that puts a whole different spin on it. How come you\u2019re an adult?<\/span><\/p>\n

HIND<\/span><\/p>\n

I\u2019ve had a whole life after death.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Look, as you know we\u2019re a very progressive theatre. We\u2019ve programmed the work of all sorts of writers. We pride ourselves on being very diverse. But I have to say we haven\u2019t programmed a writer that has been killed.<\/span><\/p>\n

HIND<\/span><\/p>\n

Murdered.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

And who pitched their story to us from beyond the grave. This is a first.<\/span><\/p>\n

HIND<\/span><\/p>\n

So you\u2019ll stage it?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

The story seems more suited to film than stage. I mean with the car and the tank and the guns.<\/span><\/p>\n

HIND<\/span><\/p>\n

No film producer wants to touch it.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Yes, well \u2026 The subject matter, it\u2019s sensitive\/<\/span><\/p>\n

HIND<\/span><\/p>\n

Censored.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

We can\u2019t make overtly political or activist statements. It could damage our reputation. We want to do something about the conflict\/<\/span><\/p>\n

HIND<\/span><\/p>\n

Genocide.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

But we can\u2019t do something so direct. And to be frank with you, while the story of the little girl\/<\/span><\/p>\n

HIND<\/span><\/p>\n

my story.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Sorry, your story. While it\u2019s moving…it\u2019s a little how can I put it? \u2026 on the nose.<\/span><\/p>\n

HIND<\/span><\/p>\n

In real life, when the ambulance turned up, the entire crew was murdered by the occupation soldiers.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I can see you tried to tone it down but still, it\u2019s too on the nose.<\/span><\/p>\n

HIND<\/span><\/p>\n

You had a play set during the Second World War last season, why wasn\u2019t that considered on the nose?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Ah … that\u2019s … that\u2019s different. The subject is very popular with our audience. They feel it\u2019s about the core of who they are.<\/span><\/p>\n

HIND<\/span><\/p>\n

My play is about them also because their tax money pays for the occupier\u2019s weapons.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

It\u2019s not the same. And besides our play showed no violence, it was all implied.<\/span><\/p>\n

HIND<\/span><\/p>\n

I told you the story but I didn\u2019t tell you how I\u2019ve treated it. It\u2018s written from my perspective as a child. The events happening around me are mixed with things imagined, with fragments of stories, with songs, with puppets. We never see the soldiers.<\/span><\/p>\n

\n
\"Mural,
Mural, “Remembering Hind Rajab,” killed by the Israeli military after being the sole survivor of Israeli tank fire on the vehicle in which she had fled with six relatives. Mural by Emmaline Blake outside the grounds of Dalymount Park, Dublin, Ireland.<\/figcaption><\/figure>\n
\n

NATALIE<\/span><\/p>\n

That\u2019s good. I\u2019ll tell you what, send me a draft and we\u2019ll take a look.<\/span><\/p>\n

HIND<\/span><\/p>\n

When would you get back to me?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

We\u2019re snowed under.<\/span><\/p>\n

HIND<\/span><\/p>\n

Another eight months?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

At the very least.<\/span><\/p>\n

HIND<\/span><\/p>\n

You have no intention of programming it, do you?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

We could commission you to write something else. We are very interested in working with a writer who represents the community of the dead.<\/span><\/p>\n

HIND<\/span><\/p>\n

Murdered.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I can\u2019t use that word. You know that.<\/span><\/p>\n

HIND<\/span><\/p>\n

Not even here, in private?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

If I use the word then it means I have taken a side in this conflict.<\/span><\/p>\n

HIND<\/span><\/p>\n

Genocide.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I can\u2019t use that word either, I\u2019m afraid. Sorry.<\/span><\/p>\n

HIND<\/span><\/p>\n

Your funders will not allow my story to be told, will they?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

It\u2019s not like that\/<\/span><\/p>\n

HIND<\/span><\/p>\n

isn\u2019t it?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

It\u2019s more the board. They have to approve.<\/span><\/p>\n

HIND<\/span><\/p>\n

Surely the final decision is with you.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I have to get going. Send me the play. We might have a one-day reading of it in the basement.<\/span><\/p>\n

HIND<\/span><\/p>\n

And I should be grateful for that?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

It\u2019s the best I can do.<\/span><\/p>\n

HIND<\/span><\/p>\n

I was murdered, in a genocide and I could easily be forgotten because when it comes to my people, you lot suffer from permanent amnesia. I believe in the power of stories, I believe in their potential to save lives. Perhaps if my story is better known, it will motivate more people to prevent the next genocide.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I can\u2019t program your play. I want to but I can\u2019t. I\u2019m on your side.<\/span><\/p>\n

HIND<\/span><\/p>\n

How about I tell the story from the perspective of my pet hamster?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Interesting.<\/span><\/p>\n

HIND<\/span><\/p>\n

It will be the story of a pet hamster trapped in a car for reasons unknown, with only her human owner for companion. I\u2019ll make no mention of occupation, genocide or murder. Is that better?<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Much. Metaphor is so powerful.<\/span><\/p>\n

HIND<\/span><\/p>\n

I wasn\u2019t being serious.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I really have to go. Do you have far to get back?<\/span><\/p>\n

HIND<\/span><\/p>\n

I\u2019m dead. So I\u2019m kind of everywhere.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

I know what you mean, I\u2019m between flats right now myself. Good luck with the writing.<\/span><\/p>\n

HIND<\/span><\/p>\n

Natalie …<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Yes.<\/span><\/p>\n

HIND<\/span><\/p>\n

My story will have a life. Even if you don\u2019t allow it on your stage. It will haunt your dreams.<\/span><\/p>\n

NATALIE<\/span><\/p>\n

Is that a threat?<\/span><\/p>\n

HIND<\/span><\/p>\n

No. A premonition.<\/span><\/p>\n

The End<\/strong><\/p>\n

 <\/p>\n

Hassan Abdulrazzak is working on a musical about the arms trade called <\/span>The Shadow World<\/span><\/i>.<\/span><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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