by Carmen Nasr

5 - 21 February 2017

“I want to be rich. I was always fighting against it, like it was a dirty secret or something.
And now I’ve got it, I can have whatever I want. I don’t have to worry about anything.

I don’t have to care about anything.
I don’t even have to pretend I care.”

★★★★ The Telegraph
★★★★ The Reviews Hub
★★★★ The Spy in the Stalls
★★★★ Paul in London

Dubailand is now completely sold out for the entire run INCLUDING the extra matinee on Monday 20 February 2017 at 2.00pm.

An oasis of free enterprise, no income taxes, no unions, no opposition parties. A paradise of consumption. A skyline on crack. Urban planning on steroids – Dubai.

On the 88th floor of an unfinished skyscraper in the Emirate’s glittering skyline, the life of a migrant labourer becomes fatefully intertwined with that of Jamie, a British expat with his eye on the big time.

Exploring the plight of Dubai’s migrant labour force, this urgent new play asks how much longer we can look the other way.

Dubailand won new playwright Carmen Nasr a 2017 Channel 4 Playwrights Scheme Playwright in Residence Bursary at the Finborough Theatre, supported by the Peggy Ramsay Foundation.

About the Playwright Carmen Nasr

Playwright Carmen Nasr is a British-Lebanese playwright, and is currently Channel 4 Playwrights Scheme Playwright in Residence, supported by the Peggy Ramsay Foundation at the Finborough Theatre, following a spell as Playwright on Attachment. Dubailand received a staged reading at Vibrant 2015 – A Festival of Finborough Playwrights. Her first play, The House of My Father received a staged reading at Vibrant 2014 – A Festival of Finborough Playwrights, and was also part of the annual Nour Festival of Contemporary Middle Eastern and North African Art and Culture. In 2015, The House of My Father was longlisted for the Bruntwood Prize. She was shortlisted for the OffWestEnd Adopt a Playwright Award 2015.

About the Director Georgie Staight

Director Georgie Staight trained at Mountview Academy of Theatre Arts, and is currently Joint Artistic Director at Flux Theatre. Direction includes Dreamless Sleep (Arts Theatre), Bridle (Emerge at the Tristan Bates Theatre), Doomed Resistance (Arcola Theatre) and Next of Kin (Bristol Old Vic Studio). She is also a playwright and has directed her own work, the adaptation and world premiere of Deborah Levy’s Billy and Girl (Karamel Theatre), Let There Be Light (Chichester Festival Theatre) and Blue Moon (Clifton Theatre, Bristol).

The Press on Dubailand

“This is proper political theatre: astute, informative and grown-up.” Matt Trueman, WhatsOnStage

“A play that confronts our complacency and complicity…. Recommended.” Dominic Cavendish, The Telegraph

“Extremely engaging.” David Hughes, The Spy In The Stalls

“This promising 90-minute piece (deserving a longer run than it’s getting at the Finborough) is no earnest harangue. At times, it drips with lyricism as it conjures glass and steel and twinkling lights. Above all, with a lightness of touch that belies the dark subject-matter.” Dominic Cavendish, The Telegraph

“Dubailand is worth seeing for its moments of brilliant writing and the pure strength of the cast.” Bryony Taylor, Everything Theatre

“The story being told is an important one, dark and contemporary, and both the writing and acting are first class.” Holly O’Mahony, Exeunt Magazine

“The debate it affords is engaging, even-handed and robust.” Dominic Cavendish, The Telegraph

“Thought-provoking and well-written.” Matthew Lunn,

“Persuasive passion and an eye for revealing detail.” Sam Marlowe, The Times

“Set in and around the high rise building sites of Dubai, Carmen Nasr’s thought provoking work explores the contrast between the glittering, almost hedonistic lifestyle of those inhabiting the emirate and the stark reality endured by those building it.” David Hughes, The Spy In The Stalls

“Compelling and urgent.” Holly O’Mahony, Exeunt Magazine

“Uniformly strong.” Matthew Lunn,

“An energizing…piece, which is nevertheless a real find. All hail the Finborough for putting it on.” Aleks Sierz,

“Definitely in need of a longer run.” David Hughes, The Spy In The Stalls

“Absolutely a play for today, Dubailand is rare in its ability to condense globalisation into drama.” Matt Trueman, WhatsOnStage

“A very thought-provoking piece of theatre.” Bryony Taylor, Everything Theatre

“A large-scale — almost epic — story about globalization and social justice.” Aleks Sierz,

“Thought-provoking, clever scriptwriting.” Bryony Taylor, Everything Theatre

“Carmen Nasr succeeds in creating a world that shines a little light on a world that embodies modern-day colonialism in the heart of the desert.” Scott Matthewman, The Reviews Hub

“Nasr’s writing – her script, her plot and her characters – are vividly real.” Holly O’Mahony, Exeunt Magazine

“Moments of sublime writing…Really engaging dialogue.” Bryony Taylor, Everything Theatre

“Nasr paint a chilling picture of a new Wild West.” Matt Trueman, WhatsOnStage

“Adi Chugh does splendid work as the gentle Amar.” Stephen Collins, Live Theatre UK

“Poignant work from Adi Chugh.” Dominic Cavendish, The Telegraph

“Adi Chugh forms the lynchpin of the production.” Scott Matthewman, The Reviews Hub

“Chugh is hugely lovable as the passionate and imaginative Amar.” Holly O’Mahony, Exeunt Magazine

“Chugh is outstanding as Amar, his energy and optimism trickling away in blood, sweat and despair.” Sam Marlowe, The Times

“Reena Lalbihari is excellent as Deena.” Stephen Collins, Live Theatre UK

“Leon Williams is terrifically entertaining.” Matthew Lunn,

“Wide-eyed, adorable Aanya Chadha.” Stephen Collins, Live Theatre UK

“An excellent cameo from Belinda Stewart-Wilson.” Matthew Lunn,

“Belinda Stewart-Wilson uses her splendidly throaty voice to great effect as the vile, calculating Amanda. She gives a tart, unerringly accurate portrait of corporate horror.” Stephen Collins, Live Theatre UK

“Nicholas Banks giving a particularly strong and perceptive portrayal of Jamie.” David Hughes, The Spy In The Stalls

“Banks is effectively watchable.” Scott Matthewman, The Reviews Hub

“Doubly effective by the simplicity and directness of Georgie Staight’s pared-down production.“ Howard Loxton, British Theatre Guide

“Georgie Staight’s production glides slickly through its scenes from parallel lives.” Sam Marlowe, The Times

5 - 21 February 2017

Tickets and Times

Monday 7:30pm
Tuesday 2:00pm
Sunday 7:30pm

1hr and 30mins with no interval