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Annex 1
THE AL-HAMLET SUMMIT
The Sulayman Al-Bassam Theatre Company (Kuwait)
CAST & COMPANY LIST
CAST
Claudius
Gertrude
Hamlet
Laertes
Ophelia/ UN Messenger
Polonius/ Fortinbras
Arms Dealer
Nicolas Daniel
Amana Wali
Sulayman Al-Bassam
Bashar Abdullah
Mariam Ali
Monadhil Dawood
Nigel Barrett
COMPANY
Writer/Director
Musical Director
Music composed and performed by
Lighting design and Technical Director
Asst. Lighting design and Technical Director
Assistant Director
Production Manager
Assistant Technical Director
Producer
Sulayman Al-Bassam
Lewis Gibson
Lewis Gibson
and Alfredo Genovesi
Richard Williamson
Robin Snowden
Nigel Williamson
Mohammed Jawad
Wafa’a Al-Fraheen
Georgina Van Welie
This Production is co-produced by the Tokyo International Arts Festival.
Annex 2
THE AL-HAMLET SUMMIT
The Sulayman Al-Bassam Theatre Company (Kuwait)
DIRECTOR’S NOTE
Hamlet as an expression of politics – this has been the driving force behind this work as
it moved through its various stages of development that began in January 2001. The
following text is a cross-cultural piece of writing in which I have tried to capture a sense
of geographical context and contemporary resonance.
When first performed (2002) in English by my London-based theatre company, Zaoum
Theatre, it aimed to allow English-speaking audiences a richer understanding of the
Arab world and its people, and how their fates are inextricably linked to that of the
West's.
Now- three years and one war later- this Arabic-language version that brings together
actors from across the Arab world seeks to probe a step further into the troubled heart of
the modern day Middle East. I have endeavoured to avoid the polemic; favouring a
concrete and poetic formulation of Arab viewpoints. The style of writing combines
aspects of the Arab oral poetry tradition with the rhetoric of modern-day politics.
In directing the piece, I sought to bring out a precise and grotesque hyperrealism in the
work. The conference chamber that gradually slides into a war room directly illuminates
the political setting of the piece. It is a huis-clos that parodies the so-called 'transparency'
of today's political processes and it is a deadly arena of internal conflict.
It is not a piece about any specific country in the Arab world. Rather, it presents a
composite of many Arab concerns that affect peoples from the Arabian Gulf to the
Atlantic and beyond.
Sulayman Al-Bassam
Annex 3
THE AL-HAMLET SUMMIT
The Sulayman Al-Bassam Theatre Company (Kuwait)
SYNOPSIS
The play is set in an un-named Arab state today. The popular and legitimate leader has
just died. His son, Hamlet, returns from his studies abroad to find that his uncle
Claudius, has assumed power and taken Hamlet’s mother, Gertrude, as his bride.
Trouble is brewing on the borders as their old neighbour and enemy, Fortinbras, is
preparing to invade, backed by foreign imperial forces.
Most of the action of the play is set at a summit. Present are Cladius, Gertrude, Hamlet,
Polonius, the Minister of Interior and his children Laertes and Ophelia.
ACT 1
Before the first summit gets underway, Laertes has time to offer condolences to his old
friend Hamlet. Then with much fanfare, Claudius enters to announce the ‘dawn of the
new democracy’. The delegates clap approval for their new leader’s words, all but
Hamlet who announces he is leaving. This is not acceptable to Gertrude or Claudius
(who wants to keep him close) and Hamlet is persuaded to stay. Seizing the moment,
Ophelia catches Hamlet alone to question him about their love. Although he loves her,
Hamlet is in no mood for sweet talking and tells her to leave.
For Polonius, things are definitely looking good. His son Laertes whose military zeal is
rewarded by Claudius with a promotion to General, leaves for war. Gertrude proposes
the marriage of Hamlet and Ophelia. But rather than tell his daughter about the
impending wedding, Polonius tells her to avoid being alone with Hamlet. She ignores his
command.
Alone by his father’s graveside Hamlet is visited by a new character, an Arms Dealer,
speaking in English. He shows him leaflets of the People’s Liberation Front (P.L.F.) that
have been circulating claiming that Hamlet’s father was murdered by Claudius while
Hamlet stands by and does nothing. A plane flies overhead dropping more propaganda
leaflets. Appalled and seizing handfuls of these leaflets, Hamlet runs to Ophelia in the
middle of the night for comfort. She welcomes him with open arms.
ACT 2
A new day, Polonius continues his good mood but Ophelia is distraught by the events of
the previous night. Noticing her change, Polonius is horrified to discover the P.L F.
leaflets Hamlet gave her.
Meanwhile preparing for the opening of the new Parliament, chinks in Claudius’s armor
are beginning to appear when the Arms Dealer announces his presence. ‘So soon?’
asks Claudius.
His next test comes at the summit meeting when Polonius reveals the leaflets that
Hamlet gave Ophelia. Despite the protestations of the women, Claudius postpones the
marriage. A plot is hatched to test Hamlet’s involvement with the Fundamentalists.
Ophelia is to question him while Claudius and Polonius overhear.
Avoiding the party in celebration of the New Parliament, Hamlet finds himself once again
in the company of the Arms Dealer. Inspired, he asks him to sell him some
phosphorous. The Arms Dealer is happy to assist but their conversation is interrupted by
an explosion in the distance.
Back at the Summit, Claudius is furious. A car bomb has exploded outside the new
parliament. To add to matters, Laertes presents a report of Fortinbras’s troops
advancing beyond the border. To break the dark mood and delighted at the car bomb
attack on Claudius, Hamlet enters with a car door pretending to have been deafened by
the explosion. He makes fun of Claudius and Polonius who leave him exasperated.
ACT 3
A new day, early in the morning, Polonius runs into the Arms Dealer and is taught a new
word to add to his propoganda vocabulary. Meanwhile, in the conference chamber,
Hamlet and Laertes are locked in argument over how best to secure the future of the
nation. Laertes claims that the real fight lies at the border and is against Fortinbras,
whilst Hamlet tries to convince him that the real enemy is within the palace and that all
their energies must focus on deposing Claudius. Gertrude meets with the Arms Dealer to
request added security on her ‘private retreat’. Finally, Laertes departs in frustration,
leaving Hamlet with a farewell token - a gun.
That afternoon, in the run-up to the Ophelia’s questioning of Hamlet, Gertrude brings her
gifts traditionally presented to Arab brides and warns her to avoid talking with her son
about religion or politics. Hamlet, meanwhile, has retrieved the gun Laertes left him and
tries to use it to commit suicide. Claudius and Polonius enter in disguise and feed
Ophelia the questions to ask Hamlet. Suspecting treachery, Hamlet violently breaks off
his conversation with Ophelia and threatens to ‘make blood flow’ in order ‘to purify this
land’.
Gertrude demands that Ophelia be exiled to the ‘animal reserve’ for ruining her son’s
mind and Claudius, in turn, suggests that Hamlet should also be sent away. They
consider the various international options and decide on Paris.
Gertrude insists on a leaving party for Hamlet. Furious, Hamlet enters screaming and
casts curses on Claudius’ head.
Ophelia, reeling in shock at what has happened to her, arranges a meeting with the
Arms Dealer and tries to stab him with a knife.
Inside the conference hall, Hamlet discovers a new space- ‘the empty space’- which, he
is convinced, will allow him to reveal all the dark secrets of the palace.
At his farewell party, Hamlet shocks the conference delegates by appearing in a parody
of Arab warrior dress. He mocks, threatens and insulting everyone at the party, whilst
hinting at Claudius’ crimes.
Claudius, furious at this public humiliation and terrified that Hamlet is a real threat to his
leadership, demands his assassination. Gertrude begs for more time.
Claudius, alone, pleads with his political masters not to desert him now, claiming he has
served their aims so well.
Hamlet enters to kill Claudius, imagining himself as a true defender of his country’s
honour. He is unable to do this, over come by the fear that he himself will become the
very same monster that he destroys.
Gertrude begins the session by accusing her son of being a ‘threat to state security’,
Hamlet retorts bluntly ‘Mother, you are a threat to state morality’. Overcome with
religious zeal, he wants to punish her and firing his gun blindly across the conference
room hits Polonius with a bullet in the head. As Hamlet swells up with moral frustration
and rage, he pins Gertrude to her desk and raising his gun again, tells her to demand
forgiveness from God. Suddenly, verses from the Holy Koran resound across the
conference room, deterring him from further violence against his mother.
Claudius seizing upon the dead body of Polonius as definitive proof of Hamlet’s danger
accuses Hamlet of being a terrorist and immediately exiles him to London. Hamlet,
delighted at the prospect of becoming the “prized animal of European liberals”, leaves
the palace but instead of going to London, retreats to the desert in order to purify his
soul by spending as he says, ‘forty nights amongst the dead’.
Meanwhile, hearing of his father’s death, Laertes leaves the southern border and returns
with his militias to the capital intent on revenge. Ophelia, meanwhile, powerless in the
face of oppression records a suicide video explaining that she must sacrifice her body to
fight this oppression, as this is her only means of expression left to her.
Claudius, realizing that his state is in jeopardy, uses a mixture of bribery and moral
blackmail, offering Laertes a share in power if he will confront Hamlet who is returning,
he claims, with ‘a group of exiles and communists and religious extremists’.
From outside the palace, we hear the sound of an explosion and Gertrude runs in
covered in blood: Ophelia has blown herself up on the palace steps.
Whilst the remaining delegates are gathered in mourning at Ophelia’s desk, Hamlet
returns from the desert, a changed man. He preaches to them about his new learning
and implores Laertes to join him in the ‘re-shaping of the Umma’ (Nation of the Faithful).
Laertes, encouraged by Claudius, punches Hamlet in the face.
At the final summit meeting, Hamlet claims that he is the rightful heir to the throne and
that his rule will bring our noble people back to the path of God. Civil war is declared and
the motion is passed unanimously.
The United Nations send an envoy to try to prevent this conflict. The envoy is dismissed
by both sides. Civil war begins and via the world news broadcasts that begin to stream
across the airwaves we learn that, one by one, all parties are annihilated.
Fortinbras, their predatory neighbour enters amongst the bodies. In a cold and cynical
speech he promises that ‘the pipeline will be completed and Terrorism will be defeated’
and asserts his ‘ancient biblical claims to this barren land’.
Annex 4
THE AL-HAMLET SUMMIT
The Sulayman Al-Bassam Theatre Company (Kuwait)
PROFILE OF THE SULAYMAN AL-BASSAM THEATRE
COMPANY
The Sulayman Al-Bassam Theatre Company was established in 2003 as the pan-Arab
arm of Zaoum Theatre with the aim of producing cutting-edge, world-class contemporary
theatre in the Arabic language.
The company, based in Kuwait, is led by Sulayman Al-Bassam, a Kuwaiti-born writer
and director. The company’s projects vary in size and scale and regularly involve
collaborations with international artists, writers, actors, designers and producers and are
made for Arab language and international festival audiences worldwide.
The company’s works to date include: The Al-Hamlet Summit (Arabic Version, 2004);
Melting the Ice (2003) and Trading (2003).
PROFILE OF SULAYMAN AL-BASSAM
Writer/Director/Hamlet
Sulayman Al-Bassam who graduated from Edinburgh University, established Zaoum
Theatre in London in 1996 and returned to Kuwait in 2002. He was recently awarded the
prestigious State Arts Encouragement Award in Kuwait for his work with The Al-Hamlet
Summit. His other awards include Edinburgh Fringe First Award and Best Performance
for The Al-Hamlet Summit, Best Director Award at the Cairo International Festival of
Experimental Theatre and Best Production for Trading at the Gulf Youth Theatre Festival
in 2003. Productions he was involved as a writer/director include Everyman (Edinburgh
Festival,1996); The Game Show (Theatre Nationale De Bourgogne, France 1997); The
60 Watt Macbeth (London, 1999); Hamlet in Kuwait (Kuwait, 2001); The Arab League
Hamlet (Tunisia, 2001); The Al-Hamlet Summit (Edinburgh-Cairo, 2002; Tokyo-UK,
2004); Melting The Ice (Kuwait-Cairo, 2003;) and Trading (Kuwait, 2003).
Annex 5
THE AL-HAMLET SUMMIT
The Sulayman Al-Bassam Theatre Company (Kuwait)
PROFILE OF CAST AND CREATIVE TEAM
Nicolas Daniel
Claudius
Nicolas Daniel studied theatre at the Institute des Beaux Arts Lebanon and Scuola del
Piccolo Teatro di Milano, Italy. He works as an actor, director and lecturer in theatre at
the Universite Libanaise. His acting credits include Coup d'Etat/El Inqelab, Sayf 1840, Le
Renard du Nord, Sinbad de pere en fils and La Parfumerie. As a theatre director he has
been involved with Ibn Al Balad, Le Testament, Non si paga non si paga and La
Moscheta. His film credits include Autour de la Maison Rose, L'Ombre de la Ville and
Nissa'a fil a'asifa ; Barsoumi, and L'histoire d'Amal for television.
Amana Wali
Gertrude
Amana Wali was trained at the Institute for Theatre Arts, Syria. Her involvement in
theatre includes 35 productions for National Theatre Syria, among which include
SuperMarket, Haram Saadat Al-Wazir, Sheikh Numan, Kasaki Ya Watan, and Hakayl
Hakim. She has also participated in films, radio programmes and more than 50
programmes in Syria, Jordan and Dubai which include Hukum Aladal,Fawazir Ramadan,
Tahaleb, Al-Murabi, Shems fie iom ga'em, Sahab, Darbat Taban, Lakiya Ashan, Al
Majhuul and Laili Al Musafirin.
Monadhil Al-Bayati
Polonius and Fortinbras
Monadhil Al-Bayati graduated in theatre from Baghdad University and has a doctorate
from the Theatre Academy St Petersburg, Russia. He has performed and directed over
20 theatre productions in Iraq, Syria, Sweden, Denmark, Belgium, UK and Kuwait
including: John Dark, The Wall of China (Arts Academy Baghdad); Forget Herostrat,
(Abu Khalil Al-Kabani, Damascus). He was involved in the film Hub Ala Maqias Riqhta
(Iran). His television credits include many programmes for Syrian television such as
Holako, Omar Al-Khayam, Al Mutanabi. He also worked with Sulayman Al-Bassam on
Melting The Ice, which was performed at Kuwait and Cairo Experimental Theatre
Festival.
Mariam Ali
Ophelia and UN Messenger
Mariam Ali was trained at the Institute for Theatre Arts, Syria, and has performed in 14
plays for the National Theatre Syria and at festivals including the Cairo Training Festival,
Carthage Festival, Jordan Festival and Hariri Street Festival (Germany). She has also
peroformed in numerous radio and television and film programmes which include
Zawahir Mudhisha, Al-Tahuna, Sabir wa Sabriya, Tamthiliya Bila Unwan for radio, Al-
Khaizaran, Ushakul Khayal, RamhuNar, Al Hareek, Al Dawar, Awdat Musafir, Nasib,
Guyum, Sayfiya, Al-Jamal, Amanat, Fi A'naakikum, Melody and Smiles, Kaana Ya Ma
Kaan, The Three Sisters, Silks of Women for television and Ascending of Rain for film.
Bashar Al-Ibrahim
Laertes
Bashar Al-Ibrahim has performed in numerous festivals in the Arab World. His theatre
works include Juha Fi Bait Al Ankabut Al Electroni, Walulua Wal Qirsh, Sarkhat Asir,
Wilida lilMaut, and Al-Fil. He has worked with Sulayman Al-Bassam on Melting The Ice
Kuwait and Cairo Experimental Theatre Festival and Trading Gulf Youth Festival, where
he was also assistant director.
Nigel Barrett
Assistant Director/Arms Dealer
Nigel Barrett was trained at the Drama Studio, London. His recent involvement in
theatre, film and television includes The Cherry Orchard for the Young Vic Studio;
Melting The Ice at the Cairo Experimental Theatre Festival; A Difference Between
Friends tour; The Al-Hamlet Summit at the Edinburgh Festival and Cairo Experimental
Theatre Festival; Single Spies at Bath Theatre Royal; The Tennis Show; Casualty (BBC)
and Hello You (Fecund Films). He has been working with Sulayman Al-Bassam as a
member of Zaoum since 1996.
Lewis Gibson
Musical Director, Composer/Musician
Lewis Gibson studied composition and sonic-art at Dartington College of Arts where he
is currently a post-graduate research student and affiliate lecturer. He was involved in
theatrical works with Mapping4D, Young Vic, London Bubble, Roundabout - Nottingham
Playhouse, Theatre Royal Northampton, Battersea Arts Centre, Bill Kenwright
Productions, Graeae, Royal Academy of Dramatic Art and Zaoum. He has worked in
television and film for BBC2, Artsworld and Carlton. He has received sonic-art
commissions from galleries and international festivals including ReSound, New Zealand
Fringe Festival, BombtheSpace, South London Gallery and Hull Time-Based Arts. Lewis
has recently been producing a series of soundwalks for the Museum of London, and
presenting Soundpostings, a radio show for ResonanceFM.
Alfredo Genovesi
Composer/Musician
After studying music at Dartington College of Arts, Alfredo Genovesi began working as
a freelance improviser, playing guitar in contemporary music projects. He has
performed and recorded in collaboration with Oren Marshall, Michael Ormiston and
Ansuman Biswas, and in larger ensembles such as LEGO, Resonance Radio Orchestra
and noise-rock band Tongue. He frequently improvises with theatre and mixed-media
projects including Zaoum, Earth Angel and Miskin Theatre, touring international music
and arts festivals. Genovesi is a regular presenter and producer of arts documentaries
for ResonanceFM, a London-based radio station. He recently curated Guitar Solo – the
London Musicians Collective’s 13th annual international festival of experimental
music.
Richard Williamson
Lighting Designer/Technical Director
Richard Williamson was trained at London Academy of Music and Dramatic Art. He has
created lighting designs for Peer Gynt, Macbeth and A Midsummer Night’s Dream
(Arcola Theatre), All Those People I Have Met, Hoxton Hall and also for Missing White
Bear Theatre, Dutchman Etcetera Theatre and Edinburgh Festival, Etcetera Theatre and
Riverside Studios. His previous work with Sulayman Al-Bassam includes Trading and
original English productions of The Al-Hamlet Summit in Kuwait, London, Edinburgh and
Cairo. Williamson’s other portfolio includes being the associate lighting designer for Mrs
Warren's Profession at Strand Theatre (London) and assistant lighting designer for The
Tempest at the Old Vic Theatre (London) and for the national tour of Our Song.
Wafa’a Al-Fraheen
Surtitles Director
Wafa’a was born in Kuwait in 1973. She studied Aerospace Engineering in Manchester,
United Kingdom, Media for Performance in Chester, United Kingdom and Prague, Czech
Republic. Wafa’a is currently working as manager of the Al-Maidan Cultural Centre, Dar
al-Athar al-Islamiyyah, Kuwait.
Robin Snowden
Assistant Technical Director
Robin has been working with Sulayman Al-Bassam on international festival tours
since 2001. Snowden has been based in London for five years designing lighting and
sound and also visual designs for all genres and scales from fringe to West End.
Mohamed Jawad Ahmad
Production Manager
Mohamed Jawad Ahmad studied at Basra University, Iraq. He is currently Director of
Sedan Media Kuwait, where his projects included three drama series for Kuwait
television. He is also the manager of the literary society Multaka Al-Thulatha and founder
member of the Kuwait/Iraq Friendship Society, a non-government organization set up by
leading Kuwait and Iraqi intellectuals after the recent conflict. He has worked with
Sulayman Al-Bassam on Melting The Ice, Kuwait, and at the Cairo Experimental Festival
of Theatre.
Georgina Van Welie
International Producer
Georgina Van Welie was the director and producer at the Gate Theatre for productions
like The Chamber Plays and Franziska. She also directed for the Royal Shakespeare
Company Festival. In television and film credits, she worked as a Development
Executive for Natural Nylon and Union Pictures. She script edited for the film Dogma, ten
short films, which included a British Academy of Film and Television Arts nomination for
one episode. Georgina has produced for Zaoum for two years.