Written by: Khalid Abdalla
Directed by: Omar Elerian
Nowhere is somehow simultaneously a powerful political statement, an autobiography, a family history, a commentary on living life to the fullest and an education on the Middle East. Beginning by telling us “it’s safe in here”, Khalid Abdalla reminds us that there are many parts of the world that are not safe. In the safe space of the theatre he invites his audience to explore and consider ideas as a group. Abdalla seamlessly intersects his own experiences, his family and the past and the current political climate in the Middle East. He is, he tells us, is from a family of political prisoners; his grandfather was in prison in Egypt in the 50s when his father was very young. His father likewise was imprisoned in the 70s and chose to emigrate to the United Kingdom. Finally, Abdalla himself tells us of his involvement in the Egyptian revolution in Tahir Square in 2011 and onwards, he shows us a particularly moving video of him overwhelmed with emotion during this time.
Abdalla immediately has an easy rapport with the audience. He invites us to follow as he walks through each topic. He is endlessly engaging to watch and never loses the attention of the very engaged audience for a second throughout. Using his own, his family’s and a friend’s experiences as a jumping off point, he springs back to give the audience a history lesson. He interacts with the audience at various points, not just speaking with us, but also encouraging everyone to draw a portrait without looking at the paper. A consummate professional, he was entirely unbothered by a pair of people walking out towards the end of the show, even when they tried to encourage others to follow. He continued, with such passion, that your eyes never really left him to see what else was going on.
Technology is on full display during this play. Abdalla uses multiple multimedia devices throughout the show to show both the wider political landscape and more personal aspects. The projector is his most used device. Used to show messages on a phone and in a particularly harsh collision of personal and political, it is used as Abdalla slams down picture after picture. Personal photos and ones containing various political figures and major moments are blended together, projected and magnified, while music is played. Music plays an important role in the show, used most often as a moment to uplift among the seriousness of what else is being discussed on stage. Choreography by Omar Rajeh enhances Abdalla’s enticing storytelling.
From a technical perspective, the entire show is complicated; however, with set and costume design by Ti Green, lighting by Jackie Shemesh, sound by Panos Chountotoulidis and video design by Sarah Readman, it remains completely seamless.
Nowhere is as relevant as theatre gets. Simultaneously a history and a spotlight on current affairs, it poses important questions and asks its audience to reflect.
Reviewed 11th Oct 2025.
