The Dividing City drew widespread praise from theatre practitioners, who lauded the production’s artistic vision, cast performances and collaborative theatrical execution, during a workshop at the 38th Doha Theatre Festival.
The workshop, which took place following the Qatar Theatre Company performance at the Qatar National Convention Centre (QNCC)’s Al Mayassa Theatre, opened the floor for discussion of the play.
Playwright and director Saad al-Borshid lauded the cast’s work, saying: “I am honoured to be commentating on the play The Dividing City. The performances in this particular play were exceptionally refined; even in moments of silence, there was an expression that conveyed the message being communicated through that silence.”
Theatre artist Salem al-Gahwashi also commended the production, highlighting the integration of its creative elements.
“The magic that Mohammed al-Mulla conveyed to us in this production was all-encompassing,” he said. “It is a play in which every aspect and dimension is complete, embodying the principle that theatre is a collective art form whose elements integrate to achieve a common purpose.”
Written by Talib al-Dous and directed by Mohammed Yousef al-Mulla, who also oversaw the production’s visual design, The Dividing City presents a dramatic narrative in which personal ambitions and family disputes converge.
At its core lies an inheritance conflict that evolves into a broader existential struggle, exposing the intricate relationship between power, fear and legitimacy.
The story follows a protagonist confronted by repeated attempts to deny her unborn child the right to exist, while those around her become entangled in calculations driven by influence, greed and the fear of losing authority.
As the narrative unfolds, characters shift between pursuing personal gain and seeking justice, creating a dramatic tension that drives the work forward.
Rather than relying on direct storytelling, The Dividing City employs a theatrical language in which characters and events serve as metaphors for broader societal concerns.
The production reflects on the consequences of power becoming an end in itself and uses dramatic irony to highlight the ethical contradictions that emer`ge when individual interests collide with professed values.
Meanwhile, a critical symposium dedicated to the play Under the Rubble was held earlier.
The discussion featured critic Dr Hanan Qassab and writer-director Fahad al-Kuwari.
Dr Qassab commended the production’s direction and atmospheric staging, noting its effective portrayal of the realities of war.
She praised the work’s artistic maturity and clear visual vision, while also expressing reservations about the realism of certain scenes and aspects of the scenography.
Al-Kuwari meanwhile noted that the play’s dramatic structure faced procedural and technical challenges.
He said the work addressed a range of themes spanning women’s issues, politics, and social concerns, while also incorporating ideological dimensions that recurred throughout the text and the dramatic framework.
