DUKE & ROYA

REVIEW by Celia Ipiotis

A confident swagger announces Duke (Jay Ellis) when he enters the office in Kabul. He’s met by the highly sympathetic Sayeed (Dariush Kashani), an interpreter and father of the top English interpreter Roya (Stephanie Nur). It takes little imagination to see the love affair pulling Duke and Roya together but perhaps it’s more surprising to imagine Roya’s father (married) and Duke’s high ranking diplomatic mother Desiree (Noma Dumezweni) amorously entangled.

Written by Charles Randolph-Wright, the flirtatious repartee between Duke and Roya was immediate.

A fan of his work, Roya knew his  lyrics and nearly swooned when he rapped–an impressive performer. Turned out, Duke was not a scruffy, urban young man, instead he was born of American British diplomatic parents, studied English lit and even quoted Rumi and James Baldwin. 

From the top, the two traded quips at an alarming pace, not unlike jazz musicians trading fours. Accustomed to perks and few restrictions, Duke decided he wanted to buy real Lapis Lazuli in the market–a forbidden area due to the physical risks.  Despite the danger surrounding them, Roya finally gave in and assumed the role of a male (something she did while growing up in order to gain an education)– forging an even brighter culture clash between the two.

When their trip off base turned perilous, Duke’s mother pays a visit–the impressive Dumezweni. A smart, liberal lawyer, she became integral to the plot when Roya and her father attempt to leave Afghanistan after the American forces pull out.

Wright referenced the terror experienced by Afghani interpreters, guides and others who were promised safe passage to America, and instead were met by mobs and desperate souls hanging from planes to escape.

Director Warren Adams’ strong pulse propelled the production and allowed the effortless chemistry between Duke and Nora to shimmer.  Very attractive people, both were shaped by their respective country’s racial and cultural prejudices. Indeed, the whole cast was marvelous, easily slipping into their characters’ skins. 

Written by Charles Randolph-Wright, the flirtatious repartee between Duke and Roya rips from the start.

A fan of his work, Roya knows his  lyrics and nearly swoons when he raps–extraordinarily convincingly.  Turns out, Duke is not a scruffy, urban young man, instead he is born of American British diplomatic parents, studied English lit and quotes Rumi and James Baldwin. 

From the top, the two trade quips at an alarming pace, not unlike jazz musicians trading fours. Accustomed to perks and few restrictions, Duke decides he wants to buy real lapis lazuli in the market–an area forbidden due to the physical risks.  Despite the danger surrounding them, Roya finally gives in and assumes the role of a male guide (something she did while growing up in order to gain an education)– forging an even brighter culture clash between the two.

When their trip off base turns perilous, Duke’s mother arrives–the impressive Dumezweni. A smart, liberal lawyer, she becomes integral to the plot when Roya and her father attempt to leave Afghanistan after the American forces pull out.

Wright references the terror experienced by Afghani interpreters, guides and others who were promised safe passage to America, and instead were met by mobs and desperate souls hanging from planes to escape.

Director Warren Adams’ strong pulse propelled the production and allowed the effortless chemistry between Duke and Nora to shimmer.  Very attractive people, both were shaped by their respective country’s racial and cultural prejudices. Indeed, the whole cast was marvelous, easily slipping into their characters’ skins. 

Performed at the intimate Lucille Lortel theater, Wilson Chin’s bare bones set design balanced dank airbase quarters to an elegant, sheer curtained hotel room brightly edged by lighting designer Amina Alexander. A thoughtful and engaging evening at the theater, the young audience embraced the production with enthusiastic applause.

EYE ON THE ARTS, NY — Celia Ipiotis