Saria Callas

Saria Callas is a new multimedia play about aspiring to be a singer while growing up in a place where it is forbidden for women to sing. Saria's already a bottle of red in, reminiscing about her experiences of childhood to womanhood. We revisit Tehran, the school bus parties, the wannabe prayer-caller and the secret w**ks at the all-girls' school. Now Saria stands at a crossroads with her child. How does a woman who has experienced firsthand repression of her body and voice react as her child struggles with their own gender identity?

Co-directed by Sara Amini and Manuel Lavandera, the production demonstrates the strengths—and occasional tensions—of a dual creative leadership. From the outset, it’s clear that both directors bring a compelling and confident artistic vision to the table. However, the collaborative approach does sometimes reveal its seams. There are moments where the tone shifts unexpectedly, or where a scene’s pacing or emotional emphasis seems slightly misaligned with what came before. These instances suggest that while both directors are working toward the same overarching goals, their individual interpretations of the material may occasionally diverge. It’s as if they are following parallel but slightly different maps to reach a common destination. These tonal inconsistencies don’t significantly detract from the overall impact of the production, but they do result in a few uneven transitions that momentarily pull the audience out.

The script, written by Amini, has a lot of promise. The story toys with tension and personal stakes, but the follow-through isn’t always consistent. A few narrative threads start to build intrigue or emotional heft, only to peter out or take a strange detour. There are also a couple of contradictory moments—points where she seems to forget what she just said five minutes ago. And while some of the songs add color and texture, others feel like interludes in search of a purpose.

The set and costume design by Mana Sadri Irani is simple but clever. A clothes rail, table, chair, chaise longue, lamp, and a set of curtains (that serves as a projector screen) make up the stage. It’s a smart, flexible design that makes the most of Camden People’s Theatre’s intimate space. The costume variety is impressive—many outfits, many quick changes—but not all of them land. A few changes felt unnecessary, even distracting, as if a character was switching clothes just because they could, not because the moment called for it.

Elahe Esmaili’s video direction adds a compelling layer to the performance. The projections are often striking, and help to expand the world of the play. That said, a couple of them felt more decorative than essential—cool to look at, but not entirely clear what they were doing there.

Parham Bahadoran and Babak Rezvani’s sound design is a standout. Every moment is clear, well-balanced, and immersive without being overwhelming. Whether it’s ambient noise, a sudden sound cue, or subtle audio layering, it all hits just right. Similarly, Ali Hunter’s lighting design is pitch-perfect—dynamic when needed, intimate when required, and always well-judged in tone and intensity.

In short, Saria Callas is a mixed but compelling bag. It’s packed with ideas and visually inventive. While it doesn't always stick the landing—especially when it comes to narrative flow and song placement—it’s undeniably bold and original. If you’re a fan of experimental theatre that’s willing to take risks (and occasionally get weird in the process), this is one worth catching.

Saria Callas runs at Camden People’s Theatre from 6th–17th May.

Book your tickets here: https://cptheatre.co.uk/whatson/Saria-Callas