Writer: Henry Naylor
Director: Martha Lott & Darren Lee Cole
Henry Naylor is a Fringe veteran, with a storied background in comedy and playwriting. His previous Fringe knockout, Angel, has been revived this year by Torch Theatre Company to much adoration. Afghanistan is Not Funny by Henry Naylor is a solo show, his re-entry into the Fringe scene, about his own experience of visiting Afghanistan, and what he’s done since.
Inspired by the shift of power back to the Taliban in August 2021 and accompanied by Sam Maynard’s photography from their trip to Afghanistan, Naylor talks about their experiences: meeting new people, taking goofy smiling photos on warzones, and facing certain death. While he says he is trying to raise awareness, the narrative of the piece speaks to a more self-serving motive – there is very little focus on the plight of the real people in these situations.
Naylor tries to make this a comedic piece, through jabs at Russell Brand, his Brummie therapist, and the BBC’s ‘policy of decency.’ However, this takes the focus away from people in Afghanistan and the comedy is lacklustre. His self-deprecation becomes self-congratulatory instead of being the humorous humbling he intended, and it seems like this piece has been written in an attempt to revive his career (“I used to have a platform”).
Maynard’s photos are excellent. They capture a side of the war not usually seen in journalistic reports. They also capture the sadistic tourism of Naylor, which he has now tried to disguise as activism. They tell of a man who is too consumed with his own opinions to see the stories of the people in front of him, stories which would achieve the intended awareness and activism with much more honesty.
Naylor tells this story through the lens of a visit to his therapist, journeying from unconscious incompetence to conscious competence. While this could be a useful tool for self-awareness, it instead shows that this piece is a coping mechanism for him to rid his guilt. The only activism contained in this production is the links to two organisations funding and supporting people affected by these conflicts in the programme.
Throughout the piece, Naylor alludes to “the girl with the bundle,” one of the most terrifying and haunting experiences during his time in Afghanistan. He makes no effort to humanise her. It may be that he is trying to make us understand that the haunting consequences of war cannot be justified, but all he achieves is the exploitation of a child.
Naylor has attempted to battle the white, western-centric view we have of this conflict. Unfortunately, he has perpetuated that view, and even within the redeemable moments of the play, he does not make an innovative point.
If you’re thinking about going to see this piece, consider donating to their recommended organisations instead: www.lindanorgrovefoundation.org & www.donate.unrefugees.org.uk
Runs at Gilded Balloon Teviot – Dining Room until 29 August 202
