Veylan Film and Theatre Production’s latest offering Voiceless is a gripping and innovative exploration of contemporary Tehran through the lens of a prime time radio host’s battle against censorship and surveillance. This independent production, which was led by playwright Payam Saeedi and director Goli Zarei and ran at the Glendon Theatre in December 2023, assembled a compelling narrative about the terror of imposed silence and fabricated reality that resonated deeply with the audience.
Voiceless narrates the struggles of Neda, who was once the renowned host of a prime-time live show on Iran’s National Radio, but is now unemployed, discredited and under intense surveillance. We learn that one day, she reached her breaking point during a live call with a fan named Somaye – and that their exchange triggered the conversation’s abrupt termination by the radio’s real-time monitoring system. This interference, which was far from unusual, prompted Neda to take a series of rebellious actions – including seeking out and providing a different platform to Somaye; gathering a list of past episodes with the details of call-in guests who had also been silenced by the Monitoring and Evaluation Department; and even interviewing a former monitor, who now questioned the ethical implications of his past role.
In response to Neda’s actions – and in order to stave off untimely and undesirable revelations about their regime – the secret police begin an intensive surveillance operation on her. They record all her activities and intimate interactions and issue explicit and implicit threats, in order to silence her and void her agency.
Perhaps the most intriguing aspect of the play is how we, as an audience, are engaged in a parallel act of eavesdropping. At different moments, the actors encourage us with gestures and words to put our headphones on or take them off – necessary acts because in the effort to give voice to the voiceless, what we must do is try to piece together what happened from fragments of surveillance.
The technical aspects of the production impressively realized this idea. The sound design by Nariman Eskandari and Zarei (who also designed the set), created an immersive environment that transported the audience directly into the heart of Tehran and the mind of the radio host recounting the events that led to her dismissal. Almost all of the sound itself – whether a slamming door, a set of footsteps, the pouring of a kettle, or a knock at the door – was created in full sight of the audience by Foley artist Mina Zaghari, by creatively deploying various practical implements from a station right in front of the audience at stage left. There were no real doors to open, shut or knock on, and there was no real kitchen. Instead, we would watch the actors mime these actions while watching Zarei create the carefully timed sound.
As Neda’s memories unspooled, chalk sketches were drawn live on the grey walls of the nondescript set to reconstitute the furniture, mirrors, picture frames, kitchen appliances and doorways that must have existed inside her eavesdropped-upon home. Likewise, costume designer Nasim Sigaroudi attired the actors in a grey colour palette, underscoring the shadowy, imagined-rather-than-seen world in which they exist. All of these effects conspired to keep us at a distance. They prevented simple immersion in the plot, and forced us to consider the cost of such pervasive surveillance and the challenge of giving voice to what has been erased or selectively recorded and manipulated.
Saeedi, an award-winning playwright with a significant body of work both in Iran and internationally, once again proves his prowess in storytelling. His script for Voiceless is a skilful blend of contemporary issues and personal narratives, making the play not only a powerful story about the plight of women in modern-day Tehran, but a universal tale of inequity and oppression that will resonate personally with women worldwide. Performed in Farsi with English surtitles, the play succeeds admirably in bridging cultural gaps, making the story accessible and engaging for a diverse audience. This choice both honours the specificity of the play’s Iranian roots and invites a broad spectrum of viewers into the narrative’s intimate folds.
And the excellent ensemble cast, comprising Iranian Canadian artists with backgrounds in theatre in Iran and Canada, brought an authentic, visceral energy to the stage. In their various roles, Sama Mousavi, Banafsheh Taherian, Kiarash Dadgar, Ali Azimipour, Helena Mokhtarian, Shadi Jalilian, Mina Zaghari, and Kimia Kalantari delivered intense, urgent and moving performances that ably embodied the complex emotional and political landscape enmeshing their characters.
Finally, Zarei’s direction is commendable for its subtlety and strength. Her vision for Voiceless is evident in every aspect of the production – from the nuanced performances to the striking, innovative staging. And the play’s pacing and emotional rhythm are handled deftly, enabling the audience to fully engage with – and participate in reconstructing – the story’s emotional core and Neda’s plight.
Voiceless is a powerful, thought-provoking production that speaks eloquently and memorably about the female experience. We look forward to seeing more stories presented by this promising indie theatre company.
© Arpita Ghosal, Sesayarts Magazine, 2023
