“an utterly hilarious lead performance and one that tenderly draws outsiders into the world of a western Sydney Arab family” – Veronica Hannon 3.5 stars
Kristelle Zibara is a find. Making her professional debut, the actor simply owns the stage in James Elazzi’s new play, Queen Fatima. It is an utterly hilarious lead performance and one that tenderly draws outsiders into the world of a western Sydney Arab family.
Our queen, a Lebanese-Australian woman in her early thirties, lives at home and works in the family bakery. She dreams of being able to introduce her boyfriend of three years, Karim (Rahel Romahn) to her hardworking parents, Jamili (Neveen Hanna) and Rony (Johnny Nasser). It is surely only a matter of time before Karim will “put a ring on it” so our girl is stumped when he wants to break up with her. Perhaps the lovebirds only really have devotion to doughnuts and Britney Spears in common? Or maybe Karim is a bit of a rat? Turns out he is under the thumb of his social-climbing parents, and Fatima is too working-class – and too fat. Will being crowned Queen Lebanon Australia on national television change their minds? Fatima’s substitute granny and friend, Gada (Fayssal Bazzi) is on her side and pageant organiser, Moonia (Sheridan Harbridge), a high energy, Teflon character, is willing to take her on.
Elazzi’s story is all about self-esteem. The playwright navigates well the up and downs of his imperfect heroine’s journey. Fatima is an awkward outsider at this stage of her life but still such a lifeforce and so defiant. All of the characters are reflective of our wider community. We sit next to these people on the train or work alongside them – only their lives do not tend to make it to the stage. And it is important they do and are not just seen as a problem to be fixed. Elazzi has written some killer lines and the stellar cast appear to be having a great time. The script is tight, but in truth, it could probably lose ten minutes. It does not feel done quite yet.
Director Paige Rattray has a good ear for the dialogue’s pace and rhythm and excels at exposing the emotional truth in the comic moments. Renee Mulder has created a spiffy two-level set and some memorable costumes, especially the doily evening frock that should be auctioned off on closing night. Kelsey Lee’s lighting adds substance and its own dimension to the antics onstage.
This is a confident production of a feel-good play. It deserves to be the sold-out success it is.
Veronica Hannon, Theatre Now
