A Love Letter to the Nightingale

Presented by the Blue Room and Elham Eshragian-Haakansson, A Love Letter to the Nightingale is a multi-media experience combining projections, film and live theatre to explore Persian mythology.

Presented on a transverse stage in the compact studio area, the audience are very close to the action. The film portion is presented on a circular screen (great impact) suspended between the two audience areas, meaning that they see mirror images of anything projected - consequently, anything written is presented twice.

The story, pieced together from the programme, is set somewhere inside ”the lands of dreams and nightmares”, and we are lead via the projections through eye catching landscapes, to where the nightingale tells her story. Director Elham Eshragian-Haakansson is an award-winning projection artist making their first venture into live theatre, so the projection work is outstanding, if a little repetitive. 

The Nightingale is tied to two faces, represented by the onstage actors, Rage and Reason, who are in continual conflict, and gradually we learn the reason for the Nightingale’s broken melody. In retrospect, this makes much sense, but without the programme explanation, as a deliberately uninformed audience member, I was unable to follow the story.

Ashkaan Hadi, a steady and intelligent Reason and Danny Aghaie, a very fit, highly energised Reason, work well against each other throughout, and are highly dedicated, focused performers, giving their all. Great work also from the film actors Asha Kiani, Misha Noori and Vafa Kiani, as well as narrator Rouha Alizaden. Composition from Ashton Namer adds to the immersive feel and Lighting designer Matt Ehren gives us a highly emotive lighting experience.

At times, it is perhaps too immersive. Experienced theatregoers pay little heed to herbal cigarette warnings, as actors normally take a few puffs and move on. In this, the actors smoke throughout most of the show, and the room is small and warm. Looking up at the screen can also be uncomfortable. 

An interesting and promising directorial debut, and a very different and enlightening theatrical experience.

Kimberley Shaw