Ostan

“Ostan,” directed by Gaby Dellal and written by Arzhang Pezhman, is a poignant and thought-provoking exploration of the lives of refugees in the UK. The play delves into themes of identity, culture, belonging, and the harsh realities of navigating a broken immigration system. Set in a rundown car wash run by Kurdish immigrants, it paints a vivid picture of the struggles faced by refugees as they try to carve out a place for themselves in a hostile and indifferent society.

One of the standout elements of the production is the multilingual dialogue, which not only highlights the characters’ diverse backgrounds but also emphasizes the importance of language in shaping identity. Görkem, the newest arrival from Kurdistan, refuses to speak Arabic or Farsi, choosing instead to practice his English. The repeated emphasis here reflects Görkem's strong attachment to his Kurdish roots and the complexities of his cultural identity.

The play’s exploration of identity is further enhanced by the powerful performances from the cast, who bring authenticity and emotional depth to their roles. The three main characters—Destan (Mohsen Ghaffari), Rebin (Ojan Genc), and Görkem (Serkan Avlik)—represent different Kurdish communities (Iranian, Iraqi, and Turkish), and their interactions carefully showcase the nuances of their shared yet distinct identities.

The set design by Liz Cooke is also worth praising. The car wash is creatively evoked using large buckets, spray bottles, and moveable plastic sheets, creating an immersive environment that reflects the characters’ precarious situation. Dellal’s use of the traverse staging, with the audience almost encroaching on the characters’ space, adds to the sense of claustrophobia and tension.

One of the most creative aspects of 'Ostan' is the use of interspersed "gaming" dialogue between Rebin and Noah (El Anthony), who sit out of sight in the audience wings. Their conversation through their headshets, overlaps with the on-stage dialogue, adding a layer of pressure and unease. Screens hang down from the ceiling, illuminating scenes of a war game, potentially showcasing what refugees might be fleeing from.

However, one element that feels slightly underdeveloped is the subplot involving human trafficking. The idea is introduced through the Iranian manager, Shapur’s (Dana Haqjoo) proposal to use the cars from the car wash to help refugees cross borders. The prospect feels chilling yet the consequences and moral dilemmas surrounding this plan are not fully explored. This lack of clarity leads to some confusion and weakens what could have been a more impactful commentary on the dangers faced by refugees.

Despite this flaw, “Ostan” remains a powerful and timely piece of theatre. It successfully exposes the failings of the UK immigration system while offering a nuanced portrayal of the refugee experience. Through its exploration of identity, culture, and belonging, the play resonates deeply with contemporary audiences.