Goodman's 'Yasmina's Necklace' sparkles as compelling tale of identity
“Yasmina's Necklace” - ★ ★ ★
Suspended above the Goodman Theatre stage where the disarming, gently comic “Yasmina's Necklace” unfolds, a less than subtle (and not entirely organic) architectural detail reflects the culture Rohina Malik's characters share but do not equally embrace.
Islamic-inspired arches float above the Chicago homes of two Muslim immigrant families, whose members struggle with identity and assimilation and endure wounds that may never heal. The arches recall Iraq (home for most of Malik's characters) and their past, which looms large for the titular Yasmina, an artist and refugee beautifully played with sad eyes, worldly wisdom and an indomitable spirit by Susaan Jamshidi.
Having witnessed war destroy her family and heritage, Yasmina maintains a connection to her homeland by wearing an Iraq-shaped pendant that evokes hostility from customers at the store where she works.
A self-described alien, she lives with her widowed father Musa (Rom Barkhordar), an Iraqi dentist who now makes his living driving a taxi. Musa's concern over his unmarried, 34-year-old daughter mirrors the concern Iraqi native Ali (Amro Salama) and his Puerto Rican wife Sara (Laura Crotte) have for their recently divorced, mildly depressed 34-year-old son Sam (an engaging, vulnerable Michael Perez), who changed his name from Abdul Samee to make himself more palatable to his non-Muslim corporate colleagues.
While Yasmina clings to her heritage, the American-born Sam - a self-described ethnic “salad” - holds loosely to his. Still their parents try to arrange a match between their children with help from local cleric Imam Kareem (Allen Gilmore).
Yasmina and Sam overcome their initial disinterest and snap judgments: She disapproves of his name change, which she says signifies cultural rejection. He dismisses her as “fresh off the boat,” an insult that evoked an audible gasp from Goodman's opening night audience. But their tentative romance is threatened by Yasmina's memories of wartime horrors represented in flashback by men from her past. Among them is childhood friend Amir (an impassioned Martin Hanna), a doctor who stayed behind in Baghdad to care for wounded civilians, and who gave Yasmina the necklace she cherishes.
Malik offers cogent observations and crafts truly poignant scenes. To that end, a clasp of hands late in the play carried as much emotional weight - and promise - as any scene I've experienced recently. Moreover, in Yasmina and Sam, she has crafted complex, self-aware and wholly authentic characters.
Director Ann Filmer, who helmed the world premiere last year at 16th Street Theater in Berwyn, expertly balances the play's pathos and humor in what is an earnest, insightful production.
That said, “Yasmina's Necklace” delves into TV sitcom territory, particularly through the portrait of the parents as well-meaning meddlers. And the play telegraphs where it's going. Still, the bruised but not broken man and woman at its center have a compelling story to tell.
<b>Location:</b> Goodman Theatre, 170 N. Dearborn St., Chicago, (312) 443-3800 or goodmantheatre.org
<b>Showtimes:</b> 7:30 p.m. Wednesday and Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; 2 p.m. Sunday through Nov. 19. Also 7:30 p.m. Nov. 12 and 14 and 2 p.m. Nov. 16
<b>Tickets:</b> $10-$40
<b>Running time:</b> About two hours, with intermission
<b>Parking:</b> $22 with Goodman validation at the Government Self Park at Lake and Clark streets
<b>Rating:</b> For teens and older; references war, violence, mistreatment of civilians