Safe Haven, a tale of the Kurdish uprising in northern Iraq, makes its debut at the Arcola Theatre. Tackling themes more relevant than ever, the production weaves powerful storytelling, inviting audiences to experience history in a fresh, compelling way.
Safe Haven, written by Chris Bowers and directed by Mark Giesser, tells the story of diplomats in Whitehall as they try to navigate, from within the UK Foreign Office, the crisis of Saddam Hussein’s genocide of the Kurds in northern Iraq. The play presents the perspective of the young diplomat Catherine, played by Beth Burrows, and her boss Clive, played by Richard Lynson, as they work to find a response based on their sense of moral responsibility and the belief that the West needs to act. It also follows the experience of an immigrant doctor living in London, Dlawer (played by Mazlum Gül), and his sister, played by Eugénie Bouda, who is fleeing to the mountains on the other side of the world.
This play is densely packed, with numerous characters and a wealth of information, all staged in the confined space of Studio Two at the Arcola. The setting can feel crowded, sometimes challenging the audience to keep up with the fast pace and multitude of perspectives.
Safe Haven, written with clear compassion by Bowers, explores its subject matter by focusing on its most powerful element: the people at its centre. Rather than relying on spectacle, it seeks to engage the audience through real human experiences and relationships.
The direction remains faithful to the story, using stage elements with restraint and allowing the actors and script to carry the production. The text stands confidently on its own, supported by the cast’s performances rather than interesting staging or directorial conception.
Liza Zahra delivered a captivating performance, leaving me genuinely curious as to why I had not heard of them before.
The cast is mostly solid, though some choices left me rather confused as to the nature of the piece. At times the acting choices were comical; at others, very serious. The places in which the action took place did not always align with the text or the situation presented.
The show has its shortcomings. Some scenes feel rushed and melodramatic, and characters such as Al‑Tikriti come across as underdeveloped and lacking depth. Certain directorial choices, such as the use of a rubber floor, seem disconnected from the overall aesthetic and do not add meaningful value to the production.
In the end, Safe Haven stands as a production with clear potential. With more development, thoughtful rewrites, and refined direction, it could truly shine. As it is, the play delivers an important story within modest means, reminding us that history’s mistakes are never as distant as we hope. Its relevance today is undeniable, and it leaves the audience with questions that linger beyond the final scene, a mark of theatre that aims to do more than simply entertain.
Listings and ticket information can be found here
