In the realm of theater, Nikhil Parmar presents a brilliant and imaginative solo play called “Invisible,” which explores the shifting mindset of Britain. Gone are the days when Islamic fundamentalists were the primary villains in Western society’s eyes. Now, Chinese terrorists take on that role.
For actors like Zayan Prakash (played by Parmar), this change has both positive and negative implications. On one hand, strangers no longer perceive him as a threat solely based on his skin color. On the other hand, the once abundant opportunities to play Muslim terrorist roles have vanished. Now, he is left with limited character options such as doctors, cabdrivers, and corner shop owners. Not to mention, these characters often lack substantial backgrounds and memorable names.
“Invisible,” showcased as part of the Brits Off Broadway festival at 59E59 Theaters, combines elements of drama, satire, and revenge to create a captivating and thought-provoking experience. Under the direction of Georgia Green from London’s Bush Theater, the play begins as a sharp and comical portrayal of Zayan’s encounter with his ex-girlfriend, Ella, who happens to be the mother of their young daughter.
As Ella questions Zayan’s appearance, remarking on his weirdness, Zayan breaks the fourth wall to deliver a clever aside, acknowledging the offensive nature of his initial response. This interaction immediately engages the audience and sets the tone for the play’s humorous yet socially conscious narrative.
Ella reveals that she now lives with their drama school classmate, Terrence, whose career as an actor is thriving. Terrence, a Korean actor, has landed a role as a terrorist in a prestigious drama, now that “East Asian fundamentalism” is the new perceived threat. Zayan’s disdain for Terrence creates a rivalry that adds comedic elements throughout their interactions, while also highlighting the struggle for recognition within a white-supremacist system.
Parmar’s magnetic performance allows him to seamlessly switch between portraying Zayan and the various characters surrounding him, each with their own distinct personalities. While the play’s narrative occasionally becomes convoluted, there is a strategic purpose behind its abundance of characters and storylines.
Zayan’s main torment stems from feeling invisible. No longer viewed as a terrorist, he now struggles to be seen at all. However, during the play’s 60-minute duration, we get glimpses of the multifaceted individual that Zayan truly is. He is not just an underemployed actor, but also a reluctant cater waiter, an inept weed dealer, a devoted father, and a neglectful son. Moreover, he carries the weight of grief for his deceased younger sister, who once saw him as a central figure in her own story.
It is both disorienting and infuriating to be limited by a society and an industry blinded by their preconceived notions about an entire group of people. “Invisible” serves as a thought-provoking and scathing response to this noxiousness, challenging societal perceptions and shedding light on the complexities of identity and representation.
Experience “Invisible” at 59E59 Theaters in Manhattan until July 2nd. The play runs for a captivating one hour, leaving audiences pondering its powerful message.
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