Fairuz stars in real drama

Had the diva of the Arab world Fairuz ever imagined that she would one day be stranded at Beirut Airport because of a stand-off between two opposing sides? Had she ever imagined that divisions of all shades, which she has been singing against for over five decades of her artistic career, would find its way yet once more and cut through the fabric of the country?

The artiste who throughout her career stood against factionalism of all colours - be it religious, ethnic, political, or ideological - was held captive to it as soon as she had disembarked from her flight. It is ironic that the incident takes place soon after Fairuz concluded in Sharjah her consecutive five-nights show of the musical play Sah El Nawm (Good Morning).

The play, in which Fairuz plays the lead role of Qurunful, is filled with inferences of the dire political set up of an Arab world that is very much lost to the expanding gap between the ruler and the people. Even its title is indicative of that. It talks of the plight of a people whose needs, aspirations, hopes and desires remain endlessly in waiting for the day they are granted one of their dreams by the governor.

But the highest authority of the land cannot grant any of the people's piling applications except once a month when it is full moon. The governor is absent from the people as he rests in deep sleep on his silky bed sheets. He is hidden away, detached and isolated. The connotations carried throughout the play, was not far off from what has been unfolding in Fairuz's own country.

In the play, a political crisis ensues when Qurunful steals the governor's insignia and stamps all the applications as the governor doses off on his chair. The play ends with a happy finale as the governor hands over his stamp and authority to Qurunful to take care of the state's affairs.

Written by the legendary Al Rahbani brothers, Sah Al Nawm was first shown in 1970 and was soon stopped for various reasons. It was brought back on stage in 2006 by Fairuz's son, Ziad Al Rahbani, who as a musician, playwright, director, and composer in his own right, added his touch to be presented as it is now.

As for Fairuz, she is always a favourite whenever she embraces the stage with her presence. And this was no exception at her show in Sharjah earlier this month.

The theatre's foyer was buzzing with the young and the old. It took quite some time to get through into the main hall, as security was extra-tight. Mobile phones, all types of cameras, as well as recording devices were not allowed in. Handbags each had to be searched before passing under the metal detector. And no sooner as that procedure was over, each person had to be checked individually by another detecting device.

But I am sure that all the hassle of waiting in queue must have been erased from the audience minds as soon as the curtains were opened for the cheering and clapping was astounding. And the magnitude of the crowd's enthusiasm became stronger as soon as they came to recognise Fairuz's petite figure standing with an open umbrella in the shadow of a dim light on stage waiting for the queue for her line. The open umbrella symbolises her quest to build a roof to her roofless house.

There is something undeniably alluring about her presence on stage. Perhaps it is her decades long ingenious creativity. Perhaps it is her charismatic persona or the captivating richness of her velvety voice. But one thing is undeniable - she stirs energy amongst the audience whenever she appears on the stage.

Fairuz live on stage is just deliciously hypnotising, irresistibly mesmerising, and absolutely electrifying. The audience is left with no choice but to willingly and with pleasure surrender to the blissful voice.

At the age of a little over 70 years old, Fairuz proved that her acting skills are as good as her singing. Yet the manner with which she carried herself in the play was in stark contrast to her concerts.

This time around, Fairuz did not appear in all pompous, regal and splendid elegance of dress, make up and hairstyle. She did not even once change her burgundy velvet dress or her golden-laced shawl.

Gestures

Even her gestures, expressions, interactions with other members of the cast as well as with the play's lyrics, were direct, warm, natural, and perhaps within normalcy which made her seem so close to the audience. So much so, that it felt like as if it was a member of the audience who had just stepped on stage and happened to have one of the most revered voices in the Arab world. This was in complete contrast to the glamorous, rigid, strict, almost distant Fairuz at any of her given concerts.

At this play, Fairuz and the audience were sailing on the same wave - bound together and ever inseparable. Every single song was followed by a thunderous cheering and clapping. It was like an addiction that neither party wanted it to come to an end. It was not as if she was living the performance. It was as if she was the performance.

There is no question that the audience because of the relevance of its storyline received the play favourably even today. Corruption, absence of free speech, misuse of power, lack of public participation and reform, bureaucracy, and favouritism are all conditions that have not changed much in the region.

And perhaps it is this relevancy that made the play a success across the Arab cities where it has been showing thus far, even though it concludes with a happy - albeit unrealistic - ending.

For over the hour, Fairuz cuddled the songs as if the words were born and nurtured on her vocal cords, as if the lyrics weaved their wings around her like butterflies - so much energetic, attractive, and alive.

And for that, Fairuz could only be received with a standing ovation.