Brownstein: Don't judge Segal Centre's play English by its title

What’s in the name of a play title? In this province? Often plenty. 

The name of the play is English. If it were being presented at a franco theatre here, anglos could jump to preconceived notions about its contents. Similarly, francos could have preconceived notions about it playing at an anglo theatre. 

It turns out that English is being presented at the anglo Segal Centre, and while it touches on language issues, it makes no reference whatsoever to Quebec. 

Penned by Iranian-American playwright Sanaz Toosi, the piece is set in Iran at a TOEFL (Test of English as a Foreign Language) school where English is being taught to four students from different backgrounds with different motivations. Frictions set in among the students whether learning another language means forsaking their native Farsi dialect or simply desiring to further their education. 

Clearly, there are certain parallels to the agony and ecstasy of language-learning here and pretty much everywhere else in the world. But at its core, English mostly offers a fascinating glimpse, both touching and whimsical, into the lives of some everyday Iranians few here would ever get to see.  

When the Segal Centre’s artistic and executive director, Lisa Rubin, first programmed the play in 2020, it had yet to make its world première in New York City. But then came COVID, and its opening, in partnership with Toronto’s Soulpepper Theatre Company, at the Segal Centre was delayed until now.  

Regardless, Rubin was aware that selecting this play could be viewed as an act of provocation by some based solely on its title. 

“Is the title a provocation in Quebec? One hundred per cent,” said Rubin, following a presentation of English at the Segal Centre. “I believe the title of this play, English, takes on more of an impact in Quebec than almost anywhere else this play is running on this continent. It means something different here. But I feel the title is a bonus. 

“Yet the title is really what the play is all about,” Rubin noted. “What drew me to it was its focus on, first, a culture so rarely featured on stage in that kind of representation, and, two, the idea that language, identity and immigration is so relevant to all of us living here.” 

In February, English won the prestigious Obie Award as the best new American played staged Off Broadway over a two-year period.  

The play’s five principal characters, the teacher and four students are all played by Iranian-Canadians here. The four women cast members sport hijabs on stage. 

Rubin recalls meeting people of all backgrounds following recent performances for whom the play really resonated.  

“People are finding themselves, whether they’re Iranian or not, in these stories, whether they be immigrant issues of cultural assimilation and struggling to master another language or the struggle to be their authentic selves.” 

In other words, universal issues. 

“But one thing this play is not is a fight for anglophones,” Rubin added. “If anything, a message could be drawn about being more patient toward anglos trying to speak French as well as francophones trying to speak English.” 

Rubin also hopes the play will go a long way toward altering long-held stereotypes. 

“So many of the shows we see have Middle Eastern characters who are represented as terrorists or bad people. So it’s gratifying to see these characters as no different on many levels and with the same issues as many of us.” 

Iranian politics and religion don’t enter into the fray here. But Anahita Dehbonehie, English’s Iranian-Canadian co-director and set designer, points out that the play does offer an accurate reflection of Iranian life on one level. 

“A lot of people do speak English in Iran, and for many it is a ladder to get out,” said Dehbonehie, who was born in Iran but moved to Toronto when she was 10. 

“The play is very much about Iran, and Iranians who watch it are deeply moved. But at the same time, people who have immigrated from other places also identify with the characters. So it’s really universal yet specific for Iranians.  

“There is no mention in class of the regime which is ubiquitous, because the school is like an island that allows them to be free of that. And we took some poetic licence here in not having pictures of Iran’s leaders on the walls.” 

But Dehbonehie is quick to note that the play was written and programmed for theatres well before the death of 22-year-old Mahsa Amini, believed to be murdered for protesting against Islamic Republic rules regarding the wearing of hijabs in Iran. That, in turn, led to last September’s civil uprising there, the largest since the 1979 revolution. 

“Even though the play was written before the uprising, the truth is that Iran has been in a state of uprising, in a state of revolution, for 44 years,” Dehbonehie stated. “It’s been constant strife. But these uprisings have caught the attention of the West and the media. So there’s kind of a precipice of hope that something might change.” 

English runs until Sunday at the Segal Centre, 5170 Côte-Ste-Catherine Rd. Information/reservations: segalcentre.org or 514-739-7944. 

bbrownstein@postmedia.com 

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