Human tales are so typically misplaced within the better turmoil of life in Afghanistan.
Matthew Spangler’s adaptation of Khaled Hosseini’s 2005 novel The Kite Runner principally tells Amir’s story of guilt and redemption performed out towards the backdrop of 25 years of Afghan historical past, pre-Russian Invasion to Taliban regime.
The occasions of the winter of 1975 change the privileged Amir’s life without end. His horrific betrayal of his childhood good friend Hassan, the son of his father’s servant and kite working professional, go away him with an enduring sense of guilt and disgrace.
In the current, Amir resides in California when he receives a name from dwelling providing him an opportunity to “be good again”. So abhorrent are Amir’s actions in 1975 that it’s onerous to think about how he can ever obtain redemption, however that roller-coaster experience of emotion is the one we take over two acts and two hours and twenty minutes of emotionally draining motion.
As essential in diversifications from web page to stage, a lot of the wealthy element is misplaced as Spangler distils the story all the way down to its naked necessities. The story is instructed in flashback by Amir and in linear kind. While the story is condensed for the stage, the tempo does really feel languid at instances, however this enables the seriousness of the subject material to land like a gut-punch.
To Spangler’s credit score he shies away from the straightforward path of constructing Amir extra likeable, simpler to forgive. He lays naked his many flaws, at instances: spineless, infantile, egocentric. Can he ever be “good again” when he appears to have by no means been actually good within the first place? Stuart Vincent as Amir juggles this properly all through. Dean Rehman delivers a superbly measured efficiency as Amir’s formidable father Baba as does Yazdan Qafouri who’s heart-breaking as Hassan/Sohrab. Bhavin Bhatt is requisitely repulsive as villain Assef.
Barney George’s set is minimalistic however efficient, utilizing projections, two picket slopes, a central sq. carpet, and kite sails to convey place and time. It is enhanced by Charles Balfour’s atmospheric lighting and the beautiful tabla enjoying of Hanif Khan.
Is it a becoming illustration of the epic novel? Certainly, it’s appropriately tailored for the stage.
This will not be a simple watch, it’s dense, emotional, and draining however completely worthwhile to see and listen to tales from an under-represented individuals and tradition we’re conscious of however barely perceive.
Runs till 13 April 2024 | Image: Barry Rivett
