Phoebe Bakker
In a space more fit for a class then show, we are about to get the lesson of our lifetime. It Was Paradise, Unfortunately is a show that blends together Trans Arab playwright Raphaël Amahl Kouri journey of self discovery with a three year investigation into the mystery of Dionysos in what is one of the most profound pieces of theatre I’ve ever seen.
The stage is laid bare, a litter of props line the shelves with the focus of the room being the overhead projector and screen to accompany it. Theres no clear defined stage, just a room with some chairs pointed to the front. It’s so painfully reminiscent of my time back in university lecture halls that I have half a mind to turn screaming. Then something beautiful happens – it starts.
“I’m not an actor” claims Raphaël Amahl Khouri. Actor is an interesting word within this show. It holds a lot of weight within both the gendered sense of it but also what is it by definition. A better fit for him might be story teller he feels but by the end I can’t help but feel they are one and the same.
We are introduced to his lovely counterpart for this show Myrto Stampouloult who is also ‘not an actor’ and makes it clear that the act of participating in this show is quite nerve racking. Together with the help of the overhead projector Myrto pieces together the story’s that Raphaël carves out in real time. We are shown pictures of his grandmother, her work with plants, her knowledge and wisdom that surround them. It feels like flicking through a picture book having it performed in real time, deeply personal and all the more authentic.
Growing up in Jordan Raphaël finds he wants to be an actor – except he is informed that girls can’t be actors they have to be actresses but that label doesn’t feel quite right. Eventually he goes to study drama in Beirut and it’s here where his question of Identity comes into play. Through a series of events it becomes clear that Raphaël is trans and wonderfully that leads to the creation of the first trans Arab play ‘She He Me”. A later inquisition from someone on whether or not they are a successful playwright creates a realisation of the toxic relationship creatives can sometimes find themselves and with their craft and so he shifts career to Botany.
This brings him to Greece and ultimately the mystery surrounding Dionysus. In his three year deep investigation into Dionysus we learn about the cleanse that has happened with this God. The love the public held for him, the joy of the festivities and the freedom of gender expression that was ultimately removed and as Raphaël says – It was paradise.
It is through this reveal we explore the notion of Dionysus being a Trans icon and how this ties into where we currently are in theatre. Attempting to carve out spaces for inclusivity when the space was always there from the beginning. It’s this discovery that brings Raphaël back into theatre and how this show came to be.
I don’t think we came up for air during this show. You are thrown so much information but it’s an absolute credit to Raphaël and Myrto that the topics glide seamlessly over one another, creating a rich tapestry for us the audience to stand back and admire. Each word and action undertaken by the pair really feels like it’s been picked out for us – crafted with love and passion. The room was awash with awe, filled to the brim with inspiration. They choose well the moments to bring us in to the stories but also when it’s our turn to just listen, at no point does the focus ever dip in the room we’re hooked from start to finish.
A genre breaking show, that redefines what theatre can be. Thoroughly intoxicating in the presence of possibility and just such a thoughtful integration of Trans identity in a personal and larger historical scale context. You will leave and tell everyone what you learned, better than a lecture in university in every single way.
Recommended drink: Whatever the Greeks were having. Ancient wine, presumably.
Performances of It Was Paradise, Unfortunately have now concluded at Dublin Fringe 2024.
Jake Mace
