They travel on the wind, just like that missile, and they only land once they find someone to possess.
Babak Anvari’s BAFTA-winning film, acclaimed as a ★★★★★ “ghostly Iranian gem” (The Observer), is reimagined by Carmen Nasr in this suspenseful stage adaptation, directed by Nadia Latif and featuring a cast led by Leila Farzad (I Hate Suzie; Kaos).
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| Bijan Daneshmand |
When Shideh’s husband is conscripted to serve on the frontline, she is left alone with her young daughter as Tehran is bombed. As the missiles strike, something more ancient and malevolent is carried on the wind.
The world premiere adaptation of this “gripping thriller” (The Hollywood Reporter), set amid the 1980s Iran-Iraq War, explores the boundary between the rational and the irrational, and the question of whether to leave or stay.
We sat down with actor Bijan Daneshmand to learn more.
What can you tell me about Under The Shadow and your role within it?
Under The Shadow is a stage adaptation of Babak Anvari’s feature film. I played the role of the Director in the film, in the play I play the roles of Mr Bijari and the Director
Under The Shadow is a stage adaptation of Babak Anvari’s feature film. I played the role of the Director in the film, in the play I play the roles of Mr Bijari and the Director
The film relied heavily on atmosphere and claustrophobia. How does the stage adaptation maintain that sense of ancient malevolence being carried on the wind in a live theatre environment?
Exactly. The film used atmosphere, calustrophobia, sound very affectively. The stage adaptation- well, we shall see. I am only using my imagination, can’t wait to see what will really happen.
Exactly. The film used atmosphere, calustrophobia, sound very affectively. The stage adaptation- well, we shall see. I am only using my imagination, can’t wait to see what will really happen.
Your character exists in a world where physical missiles are falling, yet a supernatural threat is rising. How do you approach playing a character caught between the logic of war and the illogic of the Djinn?
The role, Mr Bijari, a man nearly 80 years old- live the part, that is my approach, if any, be an older version of myself, and deliver what I have to say. Live the part, is a huge statement, but yes, that’s the bottom line.
The role, Mr Bijari, a man nearly 80 years old- live the part, that is my approach, if any, be an older version of myself, and deliver what I have to say. Live the part, is a huge statement, but yes, that’s the bottom line.
For those who remember the Iran-Iraq War, the decision to stay or leave was a visceral reality. How has the rehearsal process explored the trauma of that era, and what does it feel like to bring this specific Persian history to a London stage?
The rehearsal process was/is being lead in an exploring, curious way. Some of the cast, non Iranians, found it very interesting to learn more about how it was to live in Tehran during the longest war of the last century, eight years. I am excited for this story to come to the London stage. Although Persian history, it is quite universal.
The rehearsal process was/is being lead in an exploring, curious way. Some of the cast, non Iranians, found it very interesting to learn more about how it was to live in Tehran during the longest war of the last century, eight years. I am excited for this story to come to the London stage. Although Persian history, it is quite universal.
You are working with a powerhouse team—director Nadia Latif and lead Leila Farzad. How has the ensemble feel of this production changed your perspective on a story that was originally very focused on a mother-daughter duo?
Nadia, the director, Leila the lead, Carmen the adaptor, and the original film by Babak Anvari, and a briiliant rest of the cast and crew; yes, is great, particularly when we all connect about the story in an engaging way. The original story from the film was, as you mention, focused on a mother- daughter duo, and worked very well. The stage adaption, with the core of the story as before, but some changes also, seems to work in an interesting manner. My persepctive on the overall story has not changed, but become more wider as a spectrum.
Nadia, the director, Leila the lead, Carmen the adaptor, and the original film by Babak Anvari, and a briiliant rest of the cast and crew; yes, is great, particularly when we all connect about the story in an engaging way. The original story from the film was, as you mention, focused on a mother- daughter duo, and worked very well. The stage adaption, with the core of the story as before, but some changes also, seems to work in an interesting manner. My persepctive on the overall story has not changed, but become more wider as a spectrum.
You starred in the 2016 film, how thrilling has it been to re-visit this material and bring it to life for the stage?
When the film was made, some people did think it would work well as a play. Now, that it is happening it is, as you say ‘thrilling’. In the film there was the role of the Director, of the university admissions office. Mr. Bijari also appeared, but in the play his role has changed. Best, I don’t expand anymore. It is also very exciting that we will be at The Almeida. I have always loved this theatre.
When the film was made, some people did think it would work well as a play. Now, that it is happening it is, as you say ‘thrilling’. In the film there was the role of the Director, of the university admissions office. Mr. Bijari also appeared, but in the play his role has changed. Best, I don’t expand anymore. It is also very exciting that we will be at The Almeida. I have always loved this theatre.
You studied Civil Engineering and Fine Art before acting. How does your understanding of structure and patterns influence the way you build a character or break down a script?
I studied civil engineering; it was a mistake, should have been architecture. I enjoyed drawing, and civil engineering did involve technical drawing but architecture would have served me better- I was in a rush to graduate, and civil engineering seemed like a shortcut. My masters, in Fine Arts, at Chelsea College was years later. Talking about patterns- I notice patterns in nearly everything we do, what we do, build, eat, wear, clean, basically there patterns everywhere, and they are repetitive, so patterns may have two meanings, as in visual pattern, and repetition as behaved and seen in everything; snowflakes, I don’t need to expand; it’s all over nature, and altgough iut seems the same, ie repetitive, it actually isn’t because all repetitions end different. I see patterns and construction in story telling. Please treat this lightly and not scientifically- building a character, or breaking down a a script- I think, read and read, and read, and things will evolve and appear. Repeatedly read and look at it.
I studied civil engineering; it was a mistake, should have been architecture. I enjoyed drawing, and civil engineering did involve technical drawing but architecture would have served me better- I was in a rush to graduate, and civil engineering seemed like a shortcut. My masters, in Fine Arts, at Chelsea College was years later. Talking about patterns- I notice patterns in nearly everything we do, what we do, build, eat, wear, clean, basically there patterns everywhere, and they are repetitive, so patterns may have two meanings, as in visual pattern, and repetition as behaved and seen in everything; snowflakes, I don’t need to expand; it’s all over nature, and altgough iut seems the same, ie repetitive, it actually isn’t because all repetitions end different. I see patterns and construction in story telling. Please treat this lightly and not scientifically- building a character, or breaking down a a script- I think, read and read, and read, and things will evolve and appear. Repeatedly read and look at it.
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| Photo by Nadav Kander |
Having performed across film (like The Persian Version and Infidel) and now returning to the stage, how do you find new life in a performance when you have to repeat it night after night?
Live performance is ephemeral, different each time. It is alive. It ends that night. The next night is happening again. Although it is repetition, it is different each time. I don’t need to find new life, although it is night after night.
Live performance is ephemeral, different each time. It is alive. It ends that night. The next night is happening again. Although it is repetition, it is different each time. I don’t need to find new life, although it is night after night.
Your career spans high-fantasy (House of the Dragon), contemporary drama (The Diplomat), and now psychological horror. Do you have to approach each genre differently to each other?
I approach all work in a similar manner. Read, read, research if needed, read. Learn the stuff. Do the work.
How have you seen the appetite for Iranian stories change in the UK since you first started your career?
Yes, a little, but there is scope for more Iranian stories that are also universal. As people, humans, all want similar things, so we have universal stories to tell, that others can engage with. There are huge sources of Persian stories, from the Book of the Kings by Ferdowsi, Masnavi by Rumi, poetry of Saadi, Hafez, Attar and many more.
Yes, a little, but there is scope for more Iranian stories that are also universal. As people, humans, all want similar things, so we have universal stories to tell, that others can engage with. There are huge sources of Persian stories, from the Book of the Kings by Ferdowsi, Masnavi by Rumi, poetry of Saadi, Hafez, Attar and many more.
You balance your acting career with your own artistry. Having studied civil engineering at King’s College, do you view your canvas as a site to be engineered?
A site to be engineered never applied to me. I prefer to say, a site to be constructed. I like projects, to construct, I enjoy the process. Also, I like deconstruction, it has a certain aesthetic quality. Life, every aspect of it is an art. How we behave, live, cook, drive, interact, and so on. Best we focus less on names of subjects, or genres and so on- as is said, just do it. It is all about doing. If there is some curiosity involved, then even better.
A site to be engineered never applied to me. I prefer to say, a site to be constructed. I like projects, to construct, I enjoy the process. Also, I like deconstruction, it has a certain aesthetic quality. Life, every aspect of it is an art. How we behave, live, cook, drive, interact, and so on. Best we focus less on names of subjects, or genres and so on- as is said, just do it. It is all about doing. If there is some curiosity involved, then even better.
How do you balance the spiritual geometry of the East with the rational geometry of the West in your paintings?
There is a huge overlap of the East and West geometries, the base/ the mother is from the time and teachings of Euclid, and civilisations of Egypt, Persia, India. Often it started from practical applications, like measuring land, and marking boundaries.
There is a huge overlap of the East and West geometries, the base/ the mother is from the time and teachings of Euclid, and civilisations of Egypt, Persia, India. Often it started from practical applications, like measuring land, and marking boundaries.
Looking back, was there a specific change in your life that pushed you from the rigid world of construction into the fluid world of fine art?
I view all of life as an art form. I don’t see a huge difference in ‘making’ a structure, so much different to telling a story by film , or a play. We go to Barcelona, see Gaudi’s buildings, etc, we see amazing buildings telling us stories. So, it is not a rigid world of construction, it is perhaps a lazy, safe world of construction. Creativity- needs courage. A degree of madness. Hence, I think the world of construction, and every world or vocation can be fluid, and artistic. Also, why can’t rigidity be art. Why say art is fluid and construction is rigid?
I view all of life as an art form. I don’t see a huge difference in ‘making’ a structure, so much different to telling a story by film , or a play. We go to Barcelona, see Gaudi’s buildings, etc, we see amazing buildings telling us stories. So, it is not a rigid world of construction, it is perhaps a lazy, safe world of construction. Creativity- needs courage. A degree of madness. Hence, I think the world of construction, and every world or vocation can be fluid, and artistic. Also, why can’t rigidity be art. Why say art is fluid and construction is rigid?
How do you sit back and reflect on your career journey to date?
What has happened has happened. I don’t want to sound like Zen. But it’s done. I feel good, grateful. No dancing about, I am happy! So long as I am not in the sufferring zone I am content. I am looking forward to the new work to happen.
What has happened has happened. I don’t want to sound like Zen. But it’s done. I feel good, grateful. No dancing about, I am happy! So long as I am not in the sufferring zone I am content. I am looking forward to the new work to happen.
What's the best piece of advice you've been given in your career?
Be prepared, and just do it.
What keeps you inspired?
The immense beauty all around. What else is there left to do? Other than making?
The immense beauty all around. What else is there left to do? Other than making?
What would you hope audiences take away from seeing Under The Shadow?
When I saw the film I was mesmerised and scared to bits. I left with questions, not just about the film, but about myself. I hope the play does the same to you!
Under The Shadow runs at the Almeida Theatre in London from Tuesday 2nd June until Saturday 4th July 2026. For tickets and more information visit https://almeida.co.uk/whats-on/under-the-shadow/
To learn more about Bijan you can visit his website - https://www.bijandaneshmand.com/
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