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The West End Theater located at the Church of St. Andrew and St. Paul is the site of ‘Same Difference’, an interfaith theatrical production. |
“Interfaith” became a household word in New York City following Sept. 11th, 2001. Masjids, churches, synagogues and temples all over the city banded together under the umbrella of faith and understanding in an attempt make sense of the tragedy. Nearly a year and a half later those initial steps have come to fruition for one church, whose project of New York interfaith interviews are now being presented as a one-act play exploring the similarities and differences between Christianity, Islam and Judaism.
Same Difference, which runs this week at the St. Paul and St. Andrew Church in Manhattan, is a unique performance of dialogue, song and dance that ultimately shows that even the perceived (and misconceived) differences between the three religions are startlingly similar.
Muslims might find various elements of the 120-minute nonstop performance inappropriate, including a few dance numbers and occasional profanity. But being a combined effort between varieties of religious groups, it was not unexpected that some sensibilities would be chafed.
Still, the songs, music and rapid interchanging dialogue run the gamut from amusing to hopeless to sorrowful to hopeful. It makes for a potent exploration of how the religions perceive each other, for better or for worse. The play, conceived by New Yorker Sarah Brockus, emerged from more than 100 interviews about religious ideas and feelings in pre and post-Sept. 11th.
As the project gained force, Eileen Weiss of the Congregation B’nai Jeshurun and Daisy Khan of the American Sufi Muslim Association (ASMA) joined in to write, produce, assemble volunteers and recruit artists for the play. Interviewers gathered more than 2,500 pages of religion, tradition, politics and marital views. These pages were picked over and brought to life with music, dialogue and dance.
With a minimalist approach to set design, costume and lightening, the show allows the audience to focus on the music and actors for a direct, intimate approach. The stage is set rather simplistically, with a few musicians grouped to the side and large trapezoid-shaped white canvases overlapping the back of the stage.
As the show begins images flash on the canvases of post-9/11 protests, religious ceremonies and New Yorkers mourning the victims of the tragedy. But the real jolt comes from the simply beautiful recitation of the Adhan (call to prayer) by Mor Dior Bamba.
Bamba’s vocal presence is nearly the eclipsing performance of the play. His range and timbre truly has the capacity to inspire a deep sense of spirituality. Bamba, a true Prince originating from the Royal Griots of Senegal, West Africa, provided musical ambiance throughout the performance with a rousing song at the show’s conclusion.
But the rapid, smart dialogue between the other actors (some directed towards the audience) also makes for a thought-provoking experience.
The play is arranged around a number of “universal” questions, such as: “What is the deal with food and religion?” “Would you marry outside your faith?” And “Would you ever convert?” (To which only one actor affirms, saying, “Greatest thing I ever did was convert to Islam.”)
The actors swap roles and religious affiliations with ease using nominal props like headscarves, yarmulkes, and priestly neckbands. It’s a clever tactic, but sometimes alarming, such as the instance when one actor who wears hijab through half of the play suddenly removes it during certain scenes.
Most discerning are the stereotypes, misconceptions and perceptions voiced by the actors to each other and the audience. One reminisces about racism in the Deep South of the United States and compares it to racism in Israel against Palestinians. Another angrily points out how just before Sept. 11th, the United States and Israel walked out of the conference on racism in South Africa. Still other actors spew hatred and distrust of Muslims, especially Arabs. And one wondered aloud why no one is talking about Christian persecution in the Middle East.
Each perception – steeped in truth, untruths, fear, ignorance and mistrust – serves to highlight the “same difference” each religion has for one another. In a way, if the three faiths cannot rally around similarities, the play seems to point out they can address the same differences they see in each other.
Same Difference runs through the end of the week in New York. There is no word yet on if the play will travel to other cities. For more information call 212-362-3179.
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