Writer: Christy Lefteri
Adaptors: Nesrin Alrefaai and Matthew Spangler
Director: Anthony Almeida
The Beekeeper of Aleppo is a haunting and thought-provoking depiction of the reality many people face as they embark on highly dangerous and daunting journeys just for the chance of survival and safety, reliant on barely more than hopes and dreams. This is a poignant performance to be experienced in today’s climate of mass migration due to any number of life-threatening situations, war, persecution, disease or famine, the list goes on. Adapted from the 2019 novel by Christy Lefteri, it tells the story of one family’s journey from Syria to England, utilising both the modern-day struggles of integrating into a new society, combined with flashbacks to the harrowing travels they undertook, as well as the war-torn world they left behind. The production is a faithful retelling of the book, detailing the hardships faced on a journey such as this. While some aspects of the story have been toned down for the stage, which may be noticed by readers of the novel, it still tells the story successfully, handling important moments well throughout.
Adam Sina, who plays Nuri, is the standout performer, carrying the majority of the performance with his presence as he barely leaves the stage. Not only does he act out his life in the current and former timelines, but he also distances himself into a narrator’s role, telling not just parts of his own story but giving vital context to the world that he and his wife flee from. He is charismatic, not in the usual leading star type of way, but in keeping the audience gripped and hanging on his every word. He is emotionally complex, portraying every feeling experienced along the journey, from pain and uncertainty to rage and dismay.
Farah Saffari is accomplished in her first-ever leading role as Afra, Nuri’s wife, spending the majority of the performance acting as a blind person, and it is key that her words carry the necessary drama and expression as her movements and actions are limited by her character’s disability. She achieves this with stirring outcries of anguish and despair, growing into the role and performance as it goes on.
The only ‘character’ that has a rough night in this performance is Britain itself. In it, people are portrayed as rude and unhelpful. The process to gain asylum is shown as one of endless questions and suspicion: hardly a welcoming atmosphere for those fleeing such hardships; all of these elements enhance and exacerbate the emotions faced by the displaced masses.
The set designed by Ruby Pugh holds its own for the rubble-strewn streets of war-ravaged Aleppo, but lacks the adaptability to become other locations, such as an NHS clinic in England. However, good use is made of the wall of the ruined building as a screen for projections, showing images providing context, dates and locations that help the audience to navigate the ever-changing timelines.
Overall, this story needs to be told. Britain has been a sanctuary for persecuted immigrants for centuries, a place providing safety and security. As a performance, it is moving and eye-opening; the raw emotion on display is sure to leave a mark and make one reflect on one’s attitude towards the lost and banished. Much like the bees which appear throughout, serving as a metaphor representing life and hope, the story shows that if all can be overcome, there is always a chance of a fresh start.
Runs until 9 May 2026 and on tour
