By Nassim Soleimanpour (Iran)

www.facebook.com/whiterabbitredrabbit

Price

“I was born on Azar 19th, 1360 in Tehran. That’s Tehran, December 10th, 1981 in Christian years ...” Imagine being 29 and forbidden to leave your country. Nassim Soleimanpour dissects the experience of a whole generation in a wild, utterly original play from Iran. Forbidden to travel, he turns his isolation to his own advantage with a play that requires no director, no set and a different actor for every performance.

The M1 Singapore Fringe Festival is proud to present four unique interactive performances of White Rabbit Red Rabbit, each night featuring a different Singaporean actor–Benjamin Kheng, Lim Kay Siu, Pam Oei and Karen Tan–each who will be reading White Rabbit Red Rabbit for the first time in their lives upon stepping on stage.

White Rabbit Red Rabbit brings you into an allegorical menagerie of animals, with the audience experiencing the absent playwright’s control over the performer through his powerful script.

Join us for an evening (or four!) down the rabbit hole, where you travel with the playwright’s words and rabbits into an exploration of personal freedom and limits, no passport required!

“A stunning piece of theatre, thought-provoking and morally unsettling.”

- Fringereview

“Nassim Soleimanpour is a fiercely–even frighteningly–original voice, and a thrillingly adept craftsman... Go see!”

- The Skinny

“Wildly unpredictable and completely unforgettable, White Rabbit Red Rabbit is a punch in the air for self-expression; a testament to the power of words to transcend cultures and borders. You have to be there.”

- New Zealand Herald

Nassim Soleimanpour is an independent multidisciplinary theatre maker from Tehran, Iran. His plays have been translated into more than 20 languages and is best known for his play White Rabbit Red Rabbit, written to travel the world when he couldn’t.

After refusing to complete the compulsory military service in Iran, playwright Nassim Soleimanpour had his passport revoked. Unable to leave his country, he wrote White Rabbit Red Rabbit, a play which has travelled the world without him and captivated people he has never met.

Even while being limited to staying in Iran, the playwright has proved the ultimate ventriloquist, throwing his voice to cities all around the world, where geographical boundaries mean nothing to this play. Where other plays might struggle with practical issues such as rehearsals and directors–White Rabbit Red Rabbit does away with these concerns entirely.