Betrayed

BetrayedThere isn't much light in the production of Betrayed, George Packard's latest work which is currently playing at the Culture Project. The sets are hollow and shadowy, the settings are dimly lit and the story itself is dark and bleak. As audience members leave the theater and enter the lobby, they may find themselves blinking repeatedly, and for various reasons.Based on an article published in the New Yorker in early 2007, Packard's play is a narration of the stories of three Iraqis who, swept up in the idea of American victory and the toppling of Saddam Hussein, work for the American Embassy as translators. Played by Waleed F. Zuaiter, Sevan Greene, and Aadya Bedi they possess varied incentives for their actions, but are united by their hope for the future of their country. One is a world-weary Shiite. One is an energetic Sunni who learned to speak English by listening to Metallica. Bedi, the sole female of the group, is deliberately rebelling against the societal restrictions of her sex. A student of the university and lover of Emily Bronte, her dream is to ride a bicycle down the street, like her brothers are able to. When applauded for her bravery, she quickly retorts, "It is not because I am brave. It is because I am tired."They work under Prescott (an amiable Mike Doyle), who guided by their eagerness and open minds to exit the comfort of the green zone and learn more about the Iraqi culture. One particularly moving scene of the show takes place when the two men sneak Prescott into a family-owned restaurant and the three discuss their different cultures. The simple, quiet dialogue is haunting in its effect.The show is quiet, but it is also dark. By working for the US government, the three characters are viewed as betraying their families and friends. They put their lives at risk by traveling to work every day and standing in line for security clearance. Their lives are threatened and one is lost.However, it is not the action, but the inaction that drives this piece. Depicted through rapid-fire dialogue, the plight of the translators is revealed to be a horrific Catch-22. Shunned by their peers, they must leave their own countries, but the United States will not provide them asylum, nor any of the necessary paperwork to go to another country. Instead of action taking place, words such as "policy" and "procedure" are used repeatedly. Instead of asylum and safety being provided, one month's paid leave is offered.The show clearly begets questions of loyalty and betrayal and when either or both are necessary, especially during times of war. The situation is all too familiar, and yet silmutaneously shocking and horrifying. Swiftly directed and staged on a hollow, shadowy set, the play is simple, poignant and appallingly effective. It is not an easy show to watch, showing verbal abuse and close-ups of dead bodies.Betrayed takes place in another country, but it is about what is happening – or not happening – in America. Viewing this show the night before the New York state primary election only enhanced its already great impact. About to flee Iraq for an uncertain future, Zuaiter, in a breaking voice, questions the actual meaning of America. It is something the audience members would do well to ponder themselves.

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