Lipstick: A Modern Fairytale of Iran is part of a series ‘Beyond Borders’ at the Omnibus in Clapham, tell us a bit about the season and its focus.
Beyond Borders is a series of conversations and provocations around current trends towards the hardening of National and cultural borders.
When I was in Iran in 2010, Iran was part of the area the US Government still titled the Axis of Evil. The title coloured my assumptions of what I would find there - assumptions which were challenged on a daily basis throughout my stay in Iran.
What does Brexit, and the threat of a hard border with Ireland, do to our perceptions of people we see as Other?
What role does tightened immigration here, and Trump's travel bans in the US, play in this?
How, specifically, are women affected by the process of being Othered?
These questions can be explored verbally, but it is sometimes easier to play with these ideas in non-verbal formats. Sometimes, removing language as the primary means of communication can provide a shortcut through anxiety and terminology and towards more instinctive engagement.
The inspiration for Lipstick came from the time you spent in Iran in 2010, what made you want to use that experience as the basis of a piece of theatre?
It was a life changing experience. I met some extraordinary people, I saw some extraordinary theatre, and I saw at firsthand what the courage to keep making passionate, beautiful, honest theatre, even under the threat of censorship and imprisonment, looked like.
I would have loved to work in Iran more, but the relationship between our two countries makes getting visas and setting up projects almost impossible.
Theatre is made of the people who make it. I felt a sense of loss, after I left Iran, at the absence of collaborators I knew I could have made beautiful theatre with.
But that experience also made me cherish and celebrate the collaborators and the cultural community I have here. Lipstick is at once an acknowledgement of loss and a celebration of community and continuity.