‘The Kite Runner’ Resounds With Poignancy and Profound, Personal Intimacy.
Rarely in life do we have the opportunity for second chances, to reverse the most dire, pitiful and hateful moments of our lives and transform them with aching hope toward acts of kindness, decency and courage. This resurrection of hope toward faith in God is integral to Matthew Spangler’s adaptation of The Kite Runner, based on the best-selling novel by Khaled Hosseini, currently running at the Helen Hayes Theater on 44th Street in New York City.
Acutely, The Kite Runner is a story of relationships. These abide between father and son, between servant and master, between friends who are in fact brothers. There is also the relationship the individual has with himself. In the instance of the protagonist Amir (portrayed with aplomb and fearless generosity by Amir Arison), this relationship reveals his struggle as a divided self, unable to overcome his sin of cowardice, fear and guilt that leads to self-betrayal and betrayal of those who love him.
In the play the relationships are further tested against the backdrop of a an economically, culturally and politically roiling Afghanistan, where Pashtuns (Sunni Muslims) have historically oppressed Hazaras (Shi’a Muslims). When the monarchy, which has managed to control the economic, religious and political divides eventually topples in 1975, chaos follows. This chaos spawns the major conflict of the play as Pashtuns and Hazaras attempt to survive in the new political landscape.
However, before that de-stabilization occurs, we witness the peaceful, prosperous life of Amir with his father Baba (Faran Tahir), though Amir feels that sometimes his father hates and despises him as a weakling. Baba is a wealthy businessman, who retains his servant Ali (Evan Zes), and his son Hassan (Eric Sirakian), like members of his family for forty years, despite their being lower class Hazaras. Baba and Amir are non- practicing Westernized Pashtuns. Years later when Amir returns on a mission of redemption and forgiveness, an Afghani driver characterizes him and Baba as “tourists,” superficially Afghani. Since Baba raises Amir without attention to strict religious observances and pretensions about class, the closeness and love between Baba and Ali and their sons is heartening.
In fact the beautiful friendship the boys have in a then peaceful Afghanistan is so well acted by Arison’s Amir and Eric Sirakian’s Hassan, that we nearly forget Amir’s warning comments at the top of the play, “I became what I am today at the age of twelve. It’s wrong what you say about the past about how you can bury it, because the past claws its way out.” Amir, who narrates throughout makes these comments in San Francisco almost twenty-five years later as a warning salvo before he relates the flashback of haunting events with Hassan. These are events with which we identify because of their intense poignancy and emotional grist that transcend culture, language, religious and classist differences. These seminal and particularly resonant scenes of Amir’s life with Hassan, fly like kites to the heart of our shared human experiences, revealing psychic flaws and mortal humanity.
After Amir’s warning comments, director Giles Croft’s vision of an idyllic, happy Afghanistan before the political upheavals is poetically suggested and elucidated as Amir’s wistful memories with the ensemble onstage. Croft employs the kite and sail metaphor in the props and scenic design to link Amir from the kites he watches being flown in San Francisco in 2001, as the threaded memory that brings him back to his time in Kabul, Afghanistan in 1973.
Arison takes on the mannerisms and stance of a younger self as he plays “cowboys and Indians” with his friend Hassan, who importantly remains the same age throughout the play in his enthusiastic, vibrant and noble self. Of course, this is as it must be because this is Amir’s memory of Hassan, who disappears, never to be seen again, after the negatively defining incident that impacts Amir’s life for twenty-five years.
Tabla Artist Salar Nader provides the melodic drumming as Arison’s Amir narrates and steps in and out of the action seamlessly against Barney George’s minimalist scenic design, a fence, enhanced by William Simpson’s projection design and Charles Balfour’s lighting design. These artistic elements effect various places along Amir’s journey into self-torment which takes him from Afghanistan to the US, then back to Afghanistan and back again to the U.S.
Croft establishes the setting in the flashback as an elusive but powerful memory. Spangler uses the dialogue in Farsi as Amir and Hasan play, which conveys the beauty of the time and the poetic rhythms of the language. It is rarely used afterward, except for an exclamatory effect or a “hello” or “goodbye.” We enjoy the bond of these two boys who have gone beyond their classes and religions to find the spiritual element which always remains but which Amir loses after his self-described sin and act of infamy against Hassan, Ali and Baba. But caught up in the joy of their youthful and free relationship, we forget what Amir says that he buried in his past that claws him back. We join them in play, as the literate Amir carves their names in a pomegranate tree as the Sultans of Kabul. And Amir reads to Hassan from a favorite story about which we discover later ironically relates to Hassan’s and Amir’s relationship to Baba.
We get a flavor of this pleasant Afghanistan from these elements along with the two pieces of patterned curtain arranged prettily as two halves of a sail reminiscent of a kite as a backdrop for certain scenes. Amir familiarizes us with his relationship with Hassan as his friend who is one year younger. Yet, he indicates that always there is the distinction that Hassan is a servant, though Baba appears to love him, showering him with the same presents for his birthday that Amir receives. One gift we see is a cowboy hat which, of course, Amir has to put on and wear also.
Like two peas in a pod, the boys are motherless; Amir’s mother died giving birth to him, which Amir credits being one reason for Baba’s anger at him. And Hassan’s mother ran away to join a troop of actors and musicians, which was a fate worse than death in Afghanistan. Thus, both fathers must raise their sons without wives, though Baba has girlfriends and comes home late ignoring Amir who is lonely and insecure. Amir’s sole comfort comes from his friendship with Hassan. On the other hand, Ali is always there for Hassan, who has an inner core of strength, love and confidence.
Spangler’s characterizations run deep and the actors make the most of the nuances in conveying the explanation of why Amir behaves as cruelly as he does. Though Hassan demonstrates love and faithfulness to Amir, whom he considers his best friend, Amir is incapable of returning this honor. Thus, as the myth goes, when Hassan learned to speak, the first word he said was “Amir.” For Amir the tragedy is that he has to understand and accept the love and faithfulness that Hassan has for him. He doesn’t. To our chagrin, though Arison makes Amir likeable, we discover that Amir is incapable of showing love and loyalty to anyone. So when the boys meet up with Assef (Amir Malaklou), a bigoted Pashtun bully, Amir behaves like a coward wussy, while Hassan fearlessly protects them both with his attitude, his innate courage and confidence. Also, he is a crackerjack with his slingshot which helps save the day.
Crofts stages the kite fighting tournament as the high point of Hassan’s and Amir’s relationship with excitement and verve, as the actors pantomime the cutting of the kite strings. Hassan, as the best kite runner, anticipates where the last “enemy” kite will fall. Securing that kite will be the prize that forever emblazons Amir and Hassan as the best team at kite fighting. However, when Hassan runs after the blue kite, Asseff and his gang intercept him. Asseff cannot brook losing the tournament to an unworthy blood polluted Hazaras. To punish and humiliate Hassan, he demeans him sexually in a cultural defilement and sin, which Amir hears happening from a hidden position. Amir is too frightened to help Hassan beat off the gang, because he believes himself to be too much of a wussy to stand up to Assef’s tyranny. Amir runs away, embarrassed and ashamed. What would Baba think?
After this incident on the day that Amir achieves his father’s praise for winning the tournament, he is desolate. Amir yearns for an elusive peace and freedom from guilt and self-torment in not helping Hassan. Amir’s sin of cowardice and lie of omission blossoms into overwhelming self-recrimination that causes him to project his self-hatred onto Hassan. Rather than to face the truth of his own inner weakness, he accuses Hassan of theft, one of the worst acts Baba says a man can commit. When questioned, Hassan admits he has stolen to protect Amir from Baba’s wrath, because both Ali and Hassan understand the reason why Amir has dishonored them.
Baba forgives Hassan the theft and expects Ali and Hassan to go on as before. However, Ali and Hassan leave the household to maintain their honor. Ironically, Amir is even more ashamed of his wickedness because once again, Hassan has protected him out of the strength of sacrificial love in a move that is Christ-like. Amir’s is a monstrous act because Hassan the younger, the “low class” Hazaras is the more honorable, kinder and more loving person. Amir must face that he is a two-fold liar, a coward and an unworthy human being.
Amir’s unconscious guilt and self-recrimination consign him to a life of self-torment, until he allows himself to be redeemed by a call from Baba’s former business partner Rahim Khan (Dariush Kashani) who tells him, “Come see me. There is a way to be good again.” This is the opportunity to make amends to Hassan’s son Sohrab. Wisely, Croft casts Eric Sirakian as Hassan and Sohrab. Sirakian is absolutely terrific in both roles. And in Act II when Sohrab begs not to be taken to an orphanage where he will be harmed, he breaks your heart.
Interwoven in the relationships of Spangler’s adaptation are all the Shakespearean verities and vices elevated: sacrificial love and forgiveness, betrayal of self and those closest to us, unforgiveness, sadism and wanton cruelty leveled on an innocent who sacrifices himself for love and friendship. And these processes are pitted against the fateful opportunity to reverse the course of personal destiny and transform self-loathing to empowerme,nt, love and acceptance. Amir eventually is brought to his second chance in Act II. Interestingly, it is the time of the Taliban ascendancy to the point of despotic tribalism and murder.
Though he doesn’t believe in the religious observances, Assef’s bullying psychotic nature has found its true purpose to torture and kill in Taliban Afghanistan. That Amir must face his old demons of guilt, cowardice and fear to confront his nemesis Assef, fight him and escape with Sohrab, who Assef has kidnapped, is an incredible journey toward Amir’s personal closure and reconciliation with God.
If anything The Kite Runner underscores Amir as an Everyman, who reaches the bottom of his own personal abyss to seek forgiveness which helps him understand the meaning of “brotherly” love, the sacrificial love that his childhood friend Hassan (the marvelous, heartfelt Eric Sirakian) unquestioningly, gracefully bestows upon him.
This imagistic, stylized production fades in and out of the epic in its cultural scope and breadth of events that take place between 1973 and 2001 in Afghanistan from monarchy, to republic, to communist coup, to Russian invasion, and Taliban takeover. Amir’s journey moves to Pakistan and San Francisco then back and forth again. With brief phrases of language at the beginning and sprinkled here and there, that reflect cultural authenticity, the fateful story emerges. Amir narrates and we witness vignettes that explore Amir’s evolution as a worthy human being. Arison does a yeoman’s job with a challenging role that spans decades and keeps him onstage until the intermission, then brings him back until the conclusion. With the music of the tabla drums, the singing bowls and the schwirrbogen, we find the rhythms of the culture always pulsating, to remind us of the vitality of history and ancestry.
This is a fine adaptation and resounding, soulful production whose themes are immutable and current. Praise goes to the ensemble and Giles Croft who shepherds them to move like a synchronized pageant. Kudos goes to the Drew Baumohl (sound design), Jonathan Girling (composer and music supervisor), Kitty Winter (movement director) and Salar Nader (tabla artist and additional arrangements), as well as the other creatives previously mentioned.
The Kite Runner is at the Helen Hayes Theater for a limited engagement that ends 30 October. This is one not to miss for its acting, its stunning vibrance, poignancy and heart. For tickets and times go to their website: https://thekiterunnerbroadway.com/