Conceived and Directed: Sulayman Al-Bassam
Lighting Designer: Klaus Gruenberg
Live Music by: Kowkab Hamza
Cast including: Kanaan Hamad, Jassim al-Nabhan, Munadhil Dawood, Tareq Hashim, Nigel Barrett, Lisa Reeves, Qarie Marshshall.

“MELTING THE ICE”, (2003) was the first arab theatrical to the Amercian Led Liberation/ Occupation of Iraq.

The production brought together Kuwaiti and Iraqi actors for the first time in over 20 years side by side with British and American performers to produce what has been called...

“AN IMPORTANT MILESTONE IN ARAB POLTICAL THEATRE” (Majalat Al-Funoon, Kuwait)

The production was also called:
"A CIA-BACKED GESTURE OF ARAB TREACHERY" (Abla Al-Ruwaini in Al Jumhurriya, Egypt)

Performed in both Arabic and English, the text consisted of a collage combining scenes from Heiner Mueller's "Slaughter" and a newly commissioned English script, "The Trough", by leading young British dramatist, Torben Betts.

The production was designed and lit by acclaimed German designer Klaus Gruenberg.

Melting the Ice made a powerful affirmation of theatre's power to transcend political barriers and affront fascistic ideologies of various ethnic groups. The piece re-uttered the contradictions and confusions of political stances surrounding the Iraq invasion and in doing so aimed to create a mental laboratory for the catharsis of violent political inclinations.

Melting the Ice was produced by the Kuwait- Iraq Friendship Society, a Kuwaiti N.G.O established by Kuwaiti intellectuals and dedicated to rebuilding the rich cultural and artistic links between the two neighbouring countries.

The work, developed against all odds in Kuwait during the invasion of Iraq, premiered in Kuwait on June 2nd 2003. On the opening night, leading Kuwaiti actor Kanaan Hamad died tragically on stage. Kanaan gave his life to the art he loved and became a martyr for the message of tolerance carried by the play.

Performed at the Cairo International Festival of Theatre, in September 2003, the piece generated powerful and diametrically opposed responses from audiences and critics alike.

The Egyptian poet and folk idol, Ahmad Fouad Najim led the audience in a standing ovation whilst others attached political motivations to the work that were a reflection of the Arab World's political confusion at the time.

Written by: Sulayman Al Bassam