Set the timer. The everyday existence of a mother during a sweltering summer vacation: prepare meals, pack the bag, run the drill, repeat. With a dry wit and the determination of an Olympian, Mariam meticulously practices for the run of her life—the dreaded knock on the roof. Written by and starring Khawla Ibraheem, this unforgettable new play about obsession, survival and everyday life in Gaza is directed by NYTW Usual Suspect and Obie Award winner Oliver Butler (What the Constitution Means to Me).
Built on a foundation of obsession, instinct, and dread, A Knock on The Roof unfolds as a relentless monologue, barraging the audience with Mariam’s real-time commentary of everyday life. While this unyielding pace mirrors the terror of the knock, a pause within the text could let the audience absorb its weight fully.
It’s all building to that inevitable moment when the knock will come, when the running will begin. And yet that moment, despite a sickening plot twist, thuddingly effective and faintly manipulative all at once, is not what struck me most deeply in A Knock on the Roof. Rather, it’s the monologue about waiting that I quoted earlier: “Here in Gaza, nothing is yours. You are absolutely looted. The sieged land besieging you. Time feels endless but none of it belongs to you.” It’s the sense of the life Mariam could have–should have–had.
2025 | West End |
West End |
2025 | Off-Broadway |
NYTW Off-Broadway Premiere Off-Broadway |
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