Jared Bowen in “Nassim.” Photo credit: Mike Ritter.
Presented by The Huntington
Written and Performed by Nassim Soleimanpour
With a different local, featured artist for each performance
Directed by Omar Elerian
October 4 – October 27, 2024
The Huntington Calderwood
527 Tremont St. Boston, MA 02116
The digital playbill
Review by Noe Kamelamela
BOSTON — I consume a decent amount of theatre every two weeks, and I go primarily because I enjoy the audiences in Boston. Even when I occasionally go to the movies or a concert, I sit in an active, mostly respectful crowd. To me, Boston folks seem sedate and also cheerful at most shows. I suspect that is because they are sitting down and not driving a car at the time. It is rare that we, the patrons, disrupt the proceedings. It’s also rare to be asked or expected to engage with anyone onstage. Nassim is a mainstage show where an audience member should expect regular interaction.
The Huntington’s synopsis: “Each night a different VIP performs, while the script waits unseen in a sealed box…Nassim is toured globally and is translated and performed in the native language of each country.”
We are introduced to our mainstage entertainer who then must meet the playwright. Once they have truly met despite language and cultural barriers, they both work together to tell a story in the playwright’s native tongue, with mixed success depending on the performance’s audience. It felt more that we were all part of the show, but it was not just performance art, rather it was the ritual of theatre that included us and our input.
Similar to Nassim Soleimanpour’s White Rabbit Red Rabbit, a new sacrifice has been carefully selected each night to lead a one-of-a-kind performance for which they, the center stage performer, are deliberately unprepared. The opening night performance I attended starred Jared Bowen, a local journalist who covers the arts at GBH, and the playwright himself. Various notable Bostonians are slated for the remaining performances, including well-loved area actors and others more commonly known for theatre production, music or the circus arts.
Our company of spectators/performers consisted of a wide age range of local adults, most of whom were connected to the theatre by profession or admiration, such as myself. At this point, I should mention, that there is a special place in my heart for chaos. I love being in the room when things go not necessarily wrong, but different. I like subverted expectations. The audience makeup and focus (or lack of focus) are two of my favorite elements of chaos. Control in this setting comes down to reducing the collective to focusing intently on one element at a time. In the interest of preserving the improvisational nature of this piece, I will neglect all of the details.
At a well-paced 75 minutes, it was just enough time with the piece to learn new things, make new friends and feel satisfied. To allow myself a meal metaphor, less of a feast and more of a refreshing bite. There was nothing overly mature, jarring or objectionable though some themes of loneliness, longing and connection were bracing, particularly for a post-pandemic and international audience. Even if your desired night is sold out, I still recommend trying one of the other nights.
Nassim closes in Boston on October 27th.
