We Live in Cairo: A Musical Journey Through Revolution
Building a new world can be just as challengingāif not more soāthan dismantling an old one. This sentiment resonates deeply with the revolutionaries depicted in “We Live in Cairo,” a new musical that explores the complex aftermath of the Arab Spring. After achieving their initial goals, the bonds of solidarity among the characters begin to fray, revealing the struggles that accompany change.
The show, crafted by brothers Daniel and Patrick Lazour, premiered on Sunday at the New York Theater Workshop. The narrative unfolds in two distinct acts, separated by an intermission: the lead-up to the tumultuous protests of January and February 2011, which ultimately led to the resignation of Egypt’s long-standing autocrat, Hosni Mubarak, followed by the ensuing disillusionment and conflict. However, despite the high stakes and passionate backdrop, the emotional intensity of this new musicalāat times reminiscent of “Rent” set against a revolutionary backdropāoften feels disappointingly subdued.
At the center of the story is Layla (played by Nadina Hassan), a photographer who takes on the crucial role of documenting the uprising. Her journey brings her into contact with a group of young Cairenes determined to fight against governmental oppression. Layla’s connection to this group is facilitated by her boyfriend, Amir (Ali Louis Bourzgui, recently seen in the revival of āThe Whoās Tommyā).
- Fadwa (Rotana Tarabzouni), the group’s passionate activist, comes from a family deeply rooted in opposition and has already faced imprisonment for her outspoken criticism of Mubarak on social media.
- Hany (Michael Khalid Karadsheh), Amirās pragmatic brother, harbors aspirations of attending law school in New York, serving as a stabilizing presence amidst the chaos.
- Karim (John El-Jor), Fadwaās affluent cousin and the group’s comic relief, expresses his dissent through art, creating satirical spray-painted portraits of the nationās leadership.
The production directed by Taibi Magar shines in its visual elements, particularly through the work of set designer Tilly Grimes. The stage is adorned with rich, red-toned carpets and a dedicated space for the live band, creating an inviting atmosphere that reflects both the warmth of friendship and a sense of relative safety within their gathering spot. David Bengaliās video design proves essential in conveying the external turmoil, featuring illustrations by Egyptian artist Ganzeer that showcase Karim’s artistic endeavors alongside powerful, often brutal, news footage. A striking addition is the papier-mĆ¢chĆ© head of Mubarak designed by Raphael Mishler, which Karim dons upon his introduction.
However, the visual appeal alone cannot compensate for the weaknesses found in the book and score. While the Lazoursā dedication to this project is unmistakableāhaving spent a decade developing it since its premiere at the American Repertory Theater in Massachusetts in 2019āthe characters often lack depth. The album “Flap My Wings (Songs from We Live in Cairo)” was recorded remotely with various artists in the wake of the pandemic, showcasing the team’s commitment. Yet, only Fadwa emerges as a fully realized figure, thanks in large part to Tarabzouniās compelling performance.