I attended a performance of The Kite Runner, based on Khaled Hosseini’s best-selling novel, with my millennial daughter. While I had just finished the book, she had not read it. Besides having one of our many theatrical father-daughter bonding experiences, I was interested in her thoughts as someone unfamiliar with the source material. At the play’s conclusion, she was full of rapturous praise. My reactions were more muted.
The production faithfully follows the plot of the book in a sometimes choppy fashion. We are introduced to Amir (Amir Arison) and his playmate, confident, servant Hassan (Eric Sirakian). The two actors convincingly play their characters as young boys through manhood.
The story begins in Kabul, Afghanistan. Amir comes from a family of wealth and influence. Their home is well-appointed with lush gardens and opulent interiors. He lives with his father, Baba (his mother having died at childbirth). Hassan and his father, Ali (Evan Zes), live in a mud hut on the grounds and are their faithful servants.
Amir’s relationship with Baba (Faran Tahir) is tentative and lacking in warmth and concern. He hopes to change the absence of affection by winning the yearly kite flying contest, where boys compete to bring down each other’s soaring constructs, leaving only one towering in the skies. As each defeated kite plummets to earth, the young lads compete to capture the fallen object. They are the kite runners. The aftermath of the contest sets into motion a series of events which cause Hassan and Amir’s relationship to deteriorate and the decision by Ali to leave their employment.
Soon, the Russians invade the country and Baba and Amir flee to Pakistan and then the United States. Their lives, now totally turned upside down, are not easy, but they begin to settle into their adopted country. Marriage, a blossoming writing career and some degree of contentment settle in until Amir receives a phone call from his father’s old friend, Rahmin (Dariush Kashani) who has settled in Pakistan. He begs Amir to come see him to “make things right.” While visiting the now dying man, revelations are brought to light which, much to his distress, bring Amir back to Kabul where old demons and secrets are revisited, changing his life forever. There is more, but I don’t want to spoil the last part of the show for audience members that have not read the novel.
Playwright Matthew Spangler’s adaptation is dutiful and effectively covers the major plot points, twists and turns to the story. Understandably, choices need to be made as to what is included and excluded in the work. I found some of the leaps in the story wanting. My daughter wasn’t bothered by them.
Most of the major characters lack depth and fullness. Baba, for example, is a powerful, complex individual, but there are only glimpses in the play. The utter devastation, hopelessness and despair in Afghanistan is presented matter-of-factly.
One of the strengths of the novel are the sights, sounds, rituals and the description of the foods of the country. Mr. Spangler incorporates little of these features into the show.
The character of Amir provides an extended narration throughout the 2 ½ hour production. These descriptive passages provide necessary exposition, but consistently stop the flow of the play.
The impressive cast is led by Amir Arison as the character, Amir. He is on stage for the full length of the play and is required to show a wide range of emotions and character shifts. Amir is a person of slight convictions, is somewhat of a coward, and has self-loathing tendencies. Mr. Arison adeptly incorporates these characteristics into the most fully developed performance in the show.
Faran Tahir’s gives Baba a forcefulness and integrity, which the character needs. He provides a vivid portrayal which, if he had more time on stage, I’m sure would have been even more striking. Amir Malaklou, in the role of Assef, the childhood and adult nemesis of the character Amir, comes across more as a regular bully as opposed to the devilish tormentor and monster the character needs.
The most satisfying performer is Eric Sirakian as Hassan. He superbly embodies the humble, pleasing servant with honesty and integrity. His facial expressions and body movements speak volumes about the character’s devotion and sorrow.
Director Giles Croft keeps the production at a brisk pace, moving the story along quickly, albeit, not always satisfyingly. He succeeds in bringing out the playfulness of the story and, to a degree, is successful at portraying the numerous relationships, which are so central to the novel. The reliance on extended narrations is problematic. It’s necessary to convey large swaths of the action, but comes up short from a theatrical standpoint. The director’s incorporation of sound, from the musician Salar Nader’s ethereal performance to the use of wind-making instruments to mimic the sound of the air currents in the sky, add to the drama and the emotional undertones of the play.
Composer and Music Director Jonathan Girling has provided the atmospheric sounds of Afghanistan, which Sound Designer Drew Baumohl has expertly wrought. The compositions are beautifully rendered by musician Salar Nader, an almost constant presence off to the side of the stage. Barney George’s Scenic Designer is more utilitarian with few props and set pieces. His Costume Designs suitably mix western and Middle East styles, adding a splash of color where appropriate as in the celebratory wedding scene.
The Kite Runner, playing a limited engagement on Broadway through October 30, 2022.
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