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Further, Maldonado's set is attractive, but I had to read the script to realize that this is supposed to be several of their living rooms, not just Salme's.Īnd who do we wish were here? Rana, evidently, whose whereabouts will eventually be discovered, though not everybody looks fondly on her.
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But it's discussed only minimally, and we don't get much of a sense of what these women do, or how their demeanors shift when they're not girl-talking and giggling among one another. Some years require shutting the drapes and hiding (Reza Behjat's lighting is very expressive here), and we assume there's a war raging. Children are had and a somberness creeps in that wasn't there before. well, not that much, really, as the narrative inches forward year by year and subtle changes happen in the ladies' characters, especially Nazanin's–she becomes meaner.
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They sound positively American, which Toossi, in her program note, says is deliberate, and indicative of an attempted universality: "People everywhere–beautifully, tragically, obviously–strive for normalcy."Īnd then what happens is . They're just five young women getting ready for a wedding, joking about vaginas and bodily functions. Out of sight won't be out of mind, though, and that's one of Toossi's points: These young women, tethered or untethered to the rest of the world as they may be, try not to let external crises affect their closeness and easy camaraderie, though time can be a cruel friendship eroder. And Rana (Nazanin Nour), smart and self-aware, will be the first to disappear, because this is 1978 Iran and she's a Jew. Zari (Nikki Massoud) is a happy idiot, sexually savvy and eager to share ew-ugh observations about copulation. Nazanin (Marjan Neshat), while generally friendly, can also be demanding and judgmental. Shideh (Artemis Pebdani), studying to be a doctor, is given to wisecracks and frank observations. Salme (Roxanna Hope Radja), the first bride, is the peacemaker, the one to tamp down the ample conflicts among the five. We'll get two more weddings in the early years, and we'll get to know these women better.
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What's going on in the outside world? Who are these women when they're not just gal-pals dishing the dirt? What, if any, political viewpoints do they share, and how free are they to express them? But she also confuses us–needlessly, I think–in keeping the action so local. That she succeeds as well as she does is a testament to her powers of observation and ability to write small-talk dialog that isn't that small repeated phrases, repeated curses, even silences between lines convey a lot.
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One feels right away that Toossi is setting us up: It's not going to stay merry and bright, is it? And it won't, as Toossi, in the manner of another current play, Birthday Candles, is going to lurch forward in time–a year at a time, to 1991, with a few missing years–to convey the displacement, the fracturing of friendships, the effort to stay calm under chaos as the Iran-Iraq war escalates. And Karaj, Iran, instead of Palm Springs. The opening scene of Sanaz Toossi's Wish You Were Here at Playwrights Horizons could be an outtake from the Second Stage's recent tenant, To My Girls, except it's straight women instead of gay men. They giggle, they curse, they affectionately insult one another, they adjust the bridal gown and the bride's makeup, they discuss one another's more intimate body parts and the vagaries of sex. Nazanin Nour (behind her), Artemis Pebdani, Nikki Massoudįive lively twentysomething women, on Arnulfo Maldonado's well-appointed living room set, preparing for the wedding of one of them. Marjan Neshat, Roxanna Hope Radja (in white dress),
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Theatre Review by Marc Miller - May 3, 2022