Comic timing
Houshang Touzie's talent to entertain, move
and empower
Peyvand Khorsandi
June 3, 2005
iranian.com
“I don't solve problems, I just televise,” says
the protagonist in Richard Thomas’s Jerry Springer The
Opera.
In a review of the West End hit two years ago, the Guardian’s
Michael Billington wrote that it “touched on a genuine issue:
whether TV is a mirror or a moral agent.”
The same question can be put to any medium but none has the immediate
reach and effect of television. Witness the US-based charlatan
Ahura Yazdi. Last year his movement to remove Iran’s Islamic
regime from power -- Hakha -- led thousands of couch
potatoes in that country to believe he would arrive on 1 October
and, er, displace tyranny. He failed to turn up, of course, dashing
the hopes of the gullible but reminding us of TV’s power
to dupe.
Satirists like Ebrahim Nabavi had a field day gunning for him,
as he no doubt deserved. Some even said Iran’s very rulers
had propped up this false prophet.
The Iranian satellite TV phenomenon, however, had caught the
attention of press in the West long before Hakha took off. London’s
Channel 4 News sent documentary-maker Taghi Amirani to Los Angeles
to chart the cowboy operators at work in their living room studios,
armed with a surfeit of flowers, layers of make-up and, of course,
the ultimate in mainstream respectability: a suit.
Bridging the gaps left by their limited vocabulary and ideas
(not to mention purpose) by talking in pleasantries, stiff men
and women with sculpted hair are still striving to do what even
BBC News 24 barely manages: to fill 24 hours of airtime with content
that is not complete bollocks. The unfortunate outcome of this
is that viewers lose out. TV-sets function like fish tanks in many
of our homes but while fish spare us their thoughts, twits who
can boast little more than an appetite for fame, money and influence
swim freely through cables and airwaves.
Just as Jerry Springer The Opera
forced its audiences to step out of the goggle-box to reconsider
what’s inside it, so
Houshang Touzie’s From Satellite With Love (az
mahvareh ba esgh) offers respite from the excesses of opportunist
broadcasters.
The production, currently ending its first tour, marks a revival
of what Columbia University’s Hamid Dabashi has termed the “theater
of diaspora” and an opportunity for screen actor Behrouz
Vossoughi to revisit success.
After its recent London
outing, Vossoughi was mobbed by fans
vying for photographs and autographs. Much as Tarantino did for
Travolta,
Touzie has done for Vossoughi -- plucked him out of wilderness
and resuscitated his star persona, with a script that times his
entry impeccably and sends the audience into rapture.
The story centres around Shahin, Touzie’s alcoholic TV
entrepreneur who runs a 24-hour television station cho iran
mabashad taneh man mabad (If no Iran be then perish me), brilliantly abbreviated
to CHO.I.M.T.M.M.
Shahin is visited by his cousin from Germany (Vossoughi) who
has promised cash to fund his enterprise. He is, however, penniless,
and has to borrow from Touzie -- a fact he tries to hide from
his sophisticate wife, played with divine understatement by Sheila
Vossough (who effortlessly fills Shohreh Aghdashloo’s shoes
as the writer-director’s key collaborator).
An answering machine offers callers options for Iranian flag
products to the tune of “with lion-and-sun, press one, without
press two and empty so you can place what the hell you want there,
press three”. The station tries to make money by telling
viewers that freedom in Iran depends on its success, and appeals
for donations to its Bank of America account (barayeh komak
be vataneh khod be ma komak koneed -- Your country needs you
and so do we). Capsules of Iranian soil are on offer at $300 a
go.
A ditzy bimbo of a phone-in presenter (in a highly inventive
knockout performance by Necar Zadegan) fields a call from an angry
woman in Iran, who berates her for having no idea of how people
in her homeland suffer -- proving that viewers are not the
passive mugs broadcasters often take them to be. A pseudo-intellectual
co-presenter, played by up-and-coming talent Kamyar Jafari, waxes
lyrical about Sadegh Hedayat, and caps a suitably chaotic and colourful
ensemble. Touzie’s knack for storytelling and the visual
keeps the audience on its toes while a barrage of punchlines, packed
with social import, challenges them to keep up.
Touzie’s casting of Jafari, Vossough and Zadegan -- young
Iranian-Americans -- belies his desire to reach beyond his
core, native, Persian-speaking audience. This is reflected in his
script -- and audience make-up. Dialogue is kept simple --
a restraint that only adds to its effect. Worried about the prospect
of running out of soil to sell, Shahin says: “Agar een
khak tamam she, che khaki tu saremun bokoneem?” (If
we run out of earth, what on earth shall we do?)
There is something poignant about Touzie’s reference to
khak. He is after all, an exile, operating without the luxuries
which being in, or backed by, your own country affords. His audience
is dispersed across continents -- taking in LA, Paris and
Dubai -- but he remains tirelessly dedicated. Touzie’s
1990s hit The Sweet Scent of Love (booyeh khosheh
esgh) became
the first Persian theatre show to hit the antipodes.
In a culture that rates a shoddy film like The Lizard (Marmoulak)
cutting-edge satire, one cannot help wonder why audiences in Iran
should be deprived of Touzie’s talent to entertain, move
and empower. The man himself, however, is not one to dwell on such
trivialities. He already has a sequel in the pipeline which inches
further towards a bilingual audience, and will release a DVD of
From Satellite after is second tour, due to start in September,
ends. (In Europe such was demand for tickets that hundreds had
to be turned away.)
And while LA’s Persian-language broadcasters
continue to “just televise”, there is comfort to be
taken in the fact that Touzie’s theatre -- both a mirror
and a moral agent -- is fighting back.
Az mahvareh
ba esgh will be performed in Vancouver on Sunday
June 5, 2005. Visit AzMahvareh.com
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