Today's Edition
RAIED SHUQUM (ABU DHABI)
The Arts Centre of New York University Abu Dhabi (NYUAD) hosts the world premiere of “Hamour Doesn’t Leave the Cubicle,” an absurdist Emirati play that humorously critiques workplace bureaucracy, on October 18 and 19.
Commissioned and produced by the Abu Dhabi Music & Arts Foundation, the play is written by Ahmed Almadloum and directed by Reem Almenhali.
It delves into the mundane yet extraordinary aspects of office life, from the trivial act of writing an email to the bizarre scenario of holding a funeral for a pen.
The play, performed in Arabic with English subtitles, uses satire to highlight the universal frustrations of bureaucratic systems, encouraging audiences to reflect on their own work environments.
Almadloum, a versatile writer and journalist, skilfully combines satirical commentary with a passion for technological innovation in his creative works.
His extensive knowledge of technology heavily influences his unique approach to writing.
Almenhali, an award-winning Emirati performance artist and theatre practitioner, holds a BA in Theatre with a minor in Psychology from NYUAD.
She has co-created and directed several notable performances, including “Amulets of Palm” and “Al Raheel | Departure.”
Her work often explores themes of identity, culture, and the rapidly evolving life in the UAE.
The play features a series of vignettes that range from the hilariously mundane to the wildly surreal.
For instance, one scene involves the characters holding a funeral for a pen, symbolising the exaggerated importance placed on trivial office items.
Another scene might depict the convoluted process of writing a simple email, showcasing the unnecessary complexities often found in bureaucratic environments.
The characters in the play are named after various types of fish, symbolising different roles and power dynamics within the office.
Mad-Rabdan plays Jashaa, a character who navigates the absurdities of office life with a unique perspective. He is known for his versatile performances.
He began his acting career at the age of 18, participating in nonprofit theatre companies in Abu Dhabi while completing his bachelor’s and master’s degrees in Finance.
He later trained at a conservatoire in France. He gained recognition for his role as Hamad in the Emirati series “The Platform” and starred in the independent film “Heen.”
Abdullah Al Qassab portrays Hamour, the bureaucratic manager who symbolises the inefficiencies and absurdities of office life.
He is a dynamic expressionist and actor who has made significant contributions to theatre and film.
He has performed in films showcased at the Cannes Film Festival and trained at the Stella Adler Acting Academy in Hollywood.
He also does stand-up comedy, TV presentations, and public lectures.
Shahad Alsaqqaf takes on the role of Clownfish, a quirky and optimistic employee who tries to navigate the absurdities of the office with humour and creativity.
She is known for her work as a poet, pianist, and performer.
Her poetry often explores the beauty of the world and the essence of the human experience.
She is a student at NYUAD and has been involved in various creative projects, including the RealAD show, which focuses on building community and embracing vulnerability.
Mohammad Arwani plays Grouper, a senior employee who is both a mentor and a critic of the bureaucratic system.
He is an actor known for his involvement in theatre and film, having participated in various stage productions.
His work includes performances in plays that address social and cultural themes, contributing to the rich heritage of Emirati theatre.
Hassan El-Tahir portrays Snapper, a junior employee who is eager to make a difference but often finds himself overwhelmed by the bureaucratic hurdles.
He is an actor with a background in both theatre and film, involved in numerous productions, showcasing his versatility and dedication to the craft, while bringing depth and nuance to his characters.
These roles collectively highlight the various facets of office life, from the authoritative manager to the struggling junior employee, all while using humour to critique the inefficiencies of bureaucracy.
Through its satirical lens, the play encourages audiences to reflect on their own work environments and the often-ridiculous nature of bureaucratic processes, resonating with a global audience, while adding touches from the Emirati culture.
These roles collectively highlight the various facets of office life, from the authoritative manager to the struggling junior employee, all while using humour to critique the inefficiencies of bureaucracy.
The play, performed in Arabic with English subtitles, uses satire to highlight the universal frustrations of bureaucratic systems, encouraging audiences to reflect on their own work environments.
