The opening scene is a pier at an unnamed American island. It is nighttime. Seated on a bench is an attractive young woman, Mahida (pronounced Ma-heeda), played by Roxanna Hope. She appears to be waiting for something or someone. Soon a young man comes onto the scene. He explains that he is staying with his mother, who lives nearby, and is just out for a walk. This is Thomas (James Wallert).
The shy Mahida, who wears a scarf on her head, has a slight accent. Apparently she is Middle-Eastern.
Thomas tries to engage Mahida in conversation. He tells her that he wants to be a painter but can’t decide whether to train in college or strike out on his own. Finally returning his efforts, it comes out that Mahida is a student of literature at a university on the mainland.
The two talk of life in near-poetic terms. Then the hard, literal facts come out. Mahida’s brother has come all the way from Iran to take her back there, but she does not wish to return. After an argument, he has abandoned her a few miles from the pier, and she is waiting to take the next ferry back to the mainland. Unfortunately, the next ferry is not scheduled until early morning.
Thomas, out of courtesy and concern for Mahida’s safety, invites her to spend the night at his mother’s house.
Now moving to the interior of Edna’s house, Thomas's mother, set designer Mimi Lien and director Will Pomerantz have devised a unique and intriguing way to install and lead into the new, sedate environment—pleasing enough to rate a round of applause from the audience.
When Mahida awakes the next morning, the controlling Edna (Michele Pawk), plies the girl with questions regarding her plans, her life in Iran, and also warns her against her son, Thomas, who, she claims, is “sullen.” It’s clear that mother and son don’t understand one another very well.
Later, after Mahida and Thomas decide to go for a walk, a stranger appears at Edna’s door. He is Ramin (Arian Moayed), Mahida’s brother. Is he a guest or an intruder? It is unclear. Their long conversation touches on major ideological differences between their two cultures—Edna defending the American way, with Ramin pointing out that what we espouse and what appears in our behavior and advertising (accent on sexuality and drugs) are very different, and that the Western way may not be the ideal for the entire world.
The climax of the play is unexpected and fierce. The playwright has set forth two strongly opposed political and ideological points of view, both of which deserve serious study. One is led to delve into one’s own possibly complacent attitudes.
Director Will Pomerantz has gotten excellent performances from his cast. Roxanna Hope’s Mahida conveys both delicacy and strength; James Wallert’s Thomas displays the lack of confidence of the budding artist against his struggle to achieve a man’s sureness. Michele Pawk’s Edna is both intelligent while clueless in some areas, an interesting combination. Arian Moayed’s pragmatic Ramin merges both attractiveness and a subtle ominousness.
“Mahida…” is produced by Epic Theatre Ensemble, dedicated to creating theatrical events Off-Broadway that “inspire vital dialogue about social issues.” Each performance is followed by an audience-participation discussion led by a prominent scholar.
Mahida’s Extra Key to Heaven
Signature Theatre’s Peter Norton Space
555 West 42nd Street
Tickets: 212-352-3101 or 866-811-4111 or www.ovationtix.com/trs/pr/662135
Running time: 2 hours
Closes: Oct. 11
Diana Barth writes and publishes New Millennium, an arts newsletter. She also contributes to Totaltheater.com.
