How do we respond to those who cross borders and what might we owe them when they arrive?
For over a decade, war in Syria has forced millions from their homes. Across Europe, displacement is framed as a threat rather than a human reality. Borders have tightened, the language around asylum has grown more hostile, and the voices of refugees themselves remain unheard.
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| Photo by Kıvanç Türkgeldі |
This spring for six nights only Border Crossings returns with SUPPLIANTS OF SYRIA, an interactive multimedia performance where stories collide, perspectives shift and no two nights are the same.
Inspired by Aeschylus’ Suppliants, the first drama to confront the politics of asylum and democracy, this new play brings urgent questions of refuge, responsibility and belonging into the present moment.
Developed through a month-long collaboration with Syrian refugee women in Turkey, the performance places first-hand accounts of displacement at its core. Filmed testimonies intertwine with music, movement, poetry and at times humour, to create a dialogue across time, gender and geography, between those who cross borders and those who draw them.
Developed through a month-long collaboration with Syrian refugee women in Turkey, the performance places first-hand accounts of displacement at its core. Filmed testimonies intertwine with music, movement, poetry and at times humour, to create a dialogue across time, gender and geography, between those who cross borders and those who draw them.
We caught up with performer Tobi King Bakare to discuss the show further.
What can you tell me about Suppliants of Syria and your roles within it?
Suppliants of Syria is an adaptation of the Greek play The Suppliants. The original story looks at the aftermath of war, with a focus on migration. Unfortunately, the problems explored in 431 BC are still very present today, so our approach has been a fairly direct adaptation.
Suppliants of Syria is an adaptation of the Greek play The Suppliants. The original story looks at the aftermath of war, with a focus on migration. Unfortunately, the problems explored in 431 BC are still very present today, so our approach has been a fairly direct adaptation.
In the production, I’m playing the role of a Greek god, and also a satirical version of myself… Someone who’s keen to make work that’s inclusive, powerful, and challenging.
Can you share what drew you to the role?
I worked with Michael Walling back in 2020 and thoroughly enjoyed the process. I love the care and detail with which we approach subjects. We often find ourselves in deep conversation, speculation and debate. It’s definitely a research heavy job. Michael always turns up with a carefully curated library that you’re expected to make use of..!
I worked with Michael Walling back in 2020 and thoroughly enjoyed the process. I love the care and detail with which we approach subjects. We often find ourselves in deep conversation, speculation and debate. It’s definitely a research heavy job. Michael always turns up with a carefully curated library that you’re expected to make use of..!
The play incorporates real testimonies from Syrian women. How do these voices enhance the performance?
The Syrian women are living and speaking directly to the major themes of the play. Their real testimonies add a real sense of urgency and invite deeper empathy from the audience. One woman says she wants the world to hear her story, so being part of a vessel that helps carry those voices makes me feel genuinely grateful.
The Syrian women are living and speaking directly to the major themes of the play. Their real testimonies add a real sense of urgency and invite deeper empathy from the audience. One woman says she wants the world to hear her story, so being part of a vessel that helps carry those voices makes me feel genuinely grateful.
How does the production blend the live elements and the video testimonies?
Without giving too much away, the show carefully plants moments where the characters break character and directly confront the process/ material. These shifts are really impactful and open up space for dialogue about the real-life implications of putting on a show like this.
Without giving too much away, the show carefully plants moments where the characters break character and directly confront the process/ material. These shifts are really impactful and open up space for dialogue about the real-life implications of putting on a show like this.
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| Tobi King Bakare. Photo by Yellow Belly |
Why is it important to have outreach projects like ARRIVING, BECOMING, BELONGING alongside the performance?
Outreach projects are important because they help carry these stories across the “border” to audiences who may have more resources or power to support. Unfortunately, we’re living in a time where people sometimes need help empathising with those from different cultures and circumstances than their own. Work like this can be a real reminder of our shared humanity.
Outreach projects are important because they help carry these stories across the “border” to audiences who may have more resources or power to support. Unfortunately, we’re living in a time where people sometimes need help empathising with those from different cultures and circumstances than their own. Work like this can be a real reminder of our shared humanity.
What was the first piece of theatre you remember having a big impact on you?
When I was about 18, I saw a play called The Jungle. It explored a society that had formed inside a refugee camp, and even now, as I’m typing this, I can feel the goosebumps. That play was honestly so touching. I laughed, shouted, squirmed, smiled, ate (they served traditional food in the interval!), and cried.
When I was about 18, I saw a play called The Jungle. It explored a society that had formed inside a refugee camp, and even now, as I’m typing this, I can feel the goosebumps. That play was honestly so touching. I laughed, shouted, squirmed, smiled, ate (they served traditional food in the interval!), and cried.
After that show, I knew I had a duty to make work that goes beyond just entertaining.
What keeps you inspired?
I’m fascinated by the fact that there are around eight billion of us in the world, and every single person has a story to tell. You know when you go online and see someone describe a really specific experience you’ve had, and loads of people are like, “I thought it was just me”? I find that so interesting. How can we be so individual, but somehow the same? Investigating that is what keeps me inspired.
In a world that sometimes feels divided, what do you hope audiences take away from Suppliants Of Syria?
Very simply, if we can generate even a pinch of empathy, I’d feel content. Hopefully, people who come will be able to see themselves, their mum, their partners, their kids, or even their neighbours in the stories we’re sharing. What they choose to do after that is beyond us.
Very simply, if we can generate even a pinch of empathy, I’d feel content. Hopefully, people who come will be able to see themselves, their mum, their partners, their kids, or even their neighbours in the stories we’re sharing. What they choose to do after that is beyond us.
Suppliants of Syria runs at Hoxton Hall in London from Tuesday 3rd until Sunday 8th March. Tickets and more information are available from https://www.bordercrossings.org.uk/whats-on/programme/suppliants-syria
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