By Leila Ghaznavi
It’s prettily done, incorporating marionettes and shadow theater into the story of an Iranian émigré who flees the marriage altar and then, in a storage closet, has PTSD-like flashbacks to her childhood during the Iranian Revolution. In her mind, Darya has linked her family’s tragedies to her parents’ soulmate-like connection to each other. A love her mother clung to even though her husband eventually left them and created a new family with a new wife. Now, Darya is terrified of losing her own identity to her fiance because she is the product of what we would now call a dysfunctional family.
The bones of the production itself are strong, with solid acting and cunning props and staging. It’s visually striking. My discomfort comes from the slow pacing and the extraneous use of Darya’s fiance, Ahmad. Ahmad’s presence on the other side of the closet’s locked door does little to move the story forward until the end. I wish he had been a stronger character—someone who had a personality that showed he was worthy of Darya commitment. While the flashbacks and puppetry are intriguing, they run too long. The puppetry scenes especially could be tightened up because they drag down the story’s momentum.