I Call My Brothers
By Jonas Hassen Khemiri 
DC Premiere 

Forum Theater
Silver Spring, MD

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Creative Team: 
                                Directed by: Michael Dove                          Scenic Design: Michael Dove                                     Costume Design: Debra Sivgny
                             Lighting Design: Max Doolittle                   Sound Design/Composer: Justin Schmitz                Stage Manager: Meg Edyvean
                             Projections: Hannah Marsh
         

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Opening Sequence

The opening of the show starts in the world around us, music is heard from composers: Max Richter and Olafur Arnalds. Both's music feels homely, yet does not specifically place us in a decided location. Transitioning through the preshow announcement we move forward into the top of the show with Amor's monologue and begin the play. 

Transition Interlude 1

Amor's mind is a chasm of memory, imagination, and terror. Is he remembering his day correctly? Does he remember the best times with Shavi? Is he out right afraid? What does he need to achieve in order to remain unnoticed? 

Shavi... The friend... The Confidant

Amor's best friend Shavi, recent father, and pain in the ass remembrance of what it means to be a single friend... he consistently grounds Shavi in both the positive and the negative of life.

Ahlem. Cousin, and Fierce Warrior

Amor's cousin Ahlem is discovered as a peaceful woman who has her life together, but was she always that way? What was the connection shared between Ahlem and Amor? 

Surveillance or Reality?

Does Amor imagine his being watched? Is it real? Does he have extra paranoia from being a Muslim in a predominantly non-Muslim community? 

Valeria... Once Best Friend... Love Interest... Lover....or Not?

At Amor's core memory stems the remembrance of his life-long friend Valeria. She grew up with Amor, they rode around on scooters, built lasting memories, but someone felt love while the other developed intense friendship... Both have felt its side effects on their relationship. Each snippet above morphed as the scene played on. First, sounding clear and crisp, as Amor's mind was at the time, but as the scene wends on, things were not as clear as we were led to believe, but instead we discover the true mental coverings Amor had done to fulfill his fantasy of Valeria. 

Grandma... Affection from Heaven

At the purest moment of terror and horror for Amor, he pulls out his phone, calling and only hearing the voice of an unknown elderly woman. Soon to be revealed as Amor's grandmother from heaven, we often sit back and ponder what it means to call our loved ones who are no longer with us. This moment in the play was pure silence with added microphones during the call. Take a moment of silence to remember those you've lost, There is no sound like the sound of absence. 

It Was My Own Reflection

Amor's own understanding of life, of his involvement in the world as a Muslim, but also in the bombing of a vehicle... or was it actually him? Take a deep breath in, and breathe out through your mouth. An ending.