09 July 2011

BAALBEK: The Baalbek International Festival opened Thursday evening with “From The Days of Saladin,” a musical performed by a big cast of highly acclaimed Lebanese actors and singers.

The courtyard of the two temples, a grand stage at the base of Baalbek’s famous pillars, lured a large audience of all ages to watch the story of the conflict between the Ayyubid Sultan Saladin and England’s King Richard the Lionheart. The performance which was accompanied by various props, including horses, was highly entertaining

The principal cast was comprised of Assi El Hellani, a Lebanese singer who has been a major figure in the Middle East’s music scene since the 1990s, Lebanese actress Carmen Lebbos, who has been working in film, television and theater since 1981 and had won the 2008 Murex d’Or award for Best Lebanese actress, and the well known Lebanese television and theater actor Antoine Kerbage, who appeared opposite Fairouz in the 1973 play “Al-Mahata.”

An orchestra of 45 musicians, conducted by Maestro Harout Fazlian, and the choir of the Antonine University under the direction of Father Toufik Maatouk accompanied the actors. The sets were designed by Rami Sabbagh. The dance numbers were choreographed by Francoise Rahme, and the costumes were designed and executed by Faten Mechref from the Caracalla Research Center.

The story starts with a paranoid old playwright (Kerbage) who, convinced there is a conspiracy against him, narrates the story of Saladin, promising a tale of chivalry, honor and betrayal.

The story takes place in Jerusalem, Mount Lebanon, Baalbek, Beirut and in the hospital where the writer tries to finish his story. A sort of “double stage” alternates between the reality of the hospital and the imagination of the addled writer.

After Saladin (Hellani) liberates Jerusalem, England’s King Richard and France’s King Philip launch the Third Crusade to take back the city. To facilitate things, the Black Palm (Lebbos), France and England’s ally, convinces Salma (an innocent orphan girl whose parents died in the war to liberate Jerusalem) to take revenge by assassinating Saladin.

Saladin’s sense of justice and wisdom, however, change the girl’s mind and attract the attention of even the most notorious of thieves – The Crow, a former Black Palm ally and a freelance villain who makes a living selling arms to both sides of any conflict.

The introductory bits were promising. Accompanied by brilliantly conducted orchestral music, fireworks and horses, swords and soldiers, music and dancers, white smoke, and even the small accidental fire that set the stage alight, contributed to Saladin’s grand entrance into Jerusalem.

Despite a few microphone failures over the course of the evening, the show’s sound was well engineered and conducted, clear and suited the space. The lighting was also conducive to keeping the audience focused on the action, challenging on a wide stage set in front of the Baalbek ruins.

The main stage prop was a human-sized book and pen, which later play into the story, and a citadel gate. There was plenty of room for dancers to move about the stage.

As promising as the introduction looked, the rest of the script was frail – less a well-constructed plot than a string of key statements. Confusing changes of locations, times and a muddled progression of events detract from the grandiose musical.

The plot seemed to be constructed around the themes of resistance, unity, freedom and peace rather than the historical story of Jerusalem. The story was further weakened by contradictory messages of war and peace. Another detracting feature was the less-than-inspired acting of some of the main characters, including that of Hellani. Elocution and stage presence were generally absent.

The play has a clear political message. Land belongs to those who are born and died on it; the West is constantly trying to conquer and exploit the East, many times with the help of a local traitor trying to divide society and to create conflicts among communities. Hence, unity and secularism are the only hope for freedom, dignity and peace. In this portrayal of the conflict between West and East, the former stands opposed to justice, fairness, courage, wisdom and kindness. Saladin is, on the other hand, perfect.

There was an interesting twist in the end. The playwright goes into his own creation and tries to convince his characters to alter the ending that he never wrote, to establish an infinite peace by humanizing the hearts of the kings at war with each other through a touching performance by war orphans. His efforts are in vain.

This last scene balances the whole performance and leaves a positive impression on the audience.

This major production appears to have demanded a great deal of effort. A mixture of folklore and pop culture, it amused the audience and introduced courageous attempts to produce a work creatively “out of the box,” where reality and imagination mix on stage.

The Baalbek International Festival continues on Saturday with another performance of “From The Days of Saladin.” For more information, please visit www.baalbeck.org.lb or call 01-373-150.

Copyright The Daily Star 2011.