A recent work of theatre from Oman, Aḥmad al-Izkī’s al-Layla al-Ḥālika (The Dark Night, 2010), weaves together themes and characters from Shakespeare’s Othello and the pre-Islamic epic ‘Antara Ibn Shaddād, imagining a series of encounters which ultimately allow the protagonists to escape the tragic ending of Shakespeare’s play. This article argues that this juxtaposition performs a clever and well-placed intervention in ongoing socio-political debates on the Arabian Peninsula surrounding issues of identity, citizenship and political participation, and that the play argues for inclusivity and tolerance in the face of deep-seated racism and rising sectarianism. Furthermore, while al-Izkī’s script provides a happy ending, the 2010 production directed by ‘Abd al-Ghafūr al-Balūshī suggested a darker warning against the continuing threat of political, ethnic and sectarian divisions across the Gulf, a warning that subsequent events have borne out.
Katherine Hennessey, co-editor of this special issue, is currently a Moore Institute Visiting Fellow at the National University of Ireland, Galway. From 2009 to 2014 she lived in Sana’a, researching the history of Yemeni theatre, after which she held a Global Shakespeare research fellowship at the University of Warwick and Queen Mary University of London. She is the author of Shakespeare on the Arabian Peninsula (New York: Palgrave, 2017). Starting January 2017 she will be an Assistant Professor of English at the American University of Kuwait.