Review Roundup: NOWHERE at Battersea Arts Centre

Star of United 93, The Kite Runner and The Crown, Khalid Abdalla, in his writing debut, has created an intricate and playful solo show, inspired by his involvement in the Egyptian revolution of 2011, and his experiences of the counter-revolution that followed.

Commissioned and produced by Fuel, Nowhere is premiering at Battersea Arts Centre, followed by HOME, Manchester. It is directed by Omar Elerian and performed by Abdalla, who will take audiences on a surprising journey into his own history, set against a cartography of seismic world events.

From the histories of colonialism and decolonisation; friendship and loss; protests and uprising against regimes across the world; to the violence in Gaza following the events of 7 October 2023, Khalid brings together the personal and the political in an act of anti-biography that asks how we got here and how we find agency amidst the mazes of history. See what the critics are saying...

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Cindy Marcolina, BroadwayWorld: As a writer, Abdalla is eloquent and empathetic. With a knack for a good turn of phrase, his text is permeated with harsh elegance and lends itself to be remarkably quotable. He uses language in all its bare grace, diving into parts of focused composition before resurfacing with a colloquial wink. Elerian directs with a delicate vision, allowing Abdalla to appear to lead his own performance on the spot. But Nowhere wouldn’t have the same resonance without the creative team behind it, who lifted the monologue combining a minimal set (Ti Green) with an evocative sound design (Panos Chountoulidis) and decisive lights (Jackie Shemesh) while videos (Sarah Readman) help us to follow Abdalla’s cross-continental quest.

Arifa Akbar, The Guardian: Nowhere is an unruly creation, sometimes frustratingly undisciplined, but with such rich moments that it feels like more than theatre, and asks something of its audience with its consciousness-raising message for peace at the end, which feels like a radical and urgent action in our world.

Mike Carter, Everything Theatre: Nowhere’s theatrical tools, sound, video, and contemporary dance are all objectively good. This is especially true of the latter, so take a bow, choreographer Omar Rajeh. It’s just a shame they don’t add up to something more powerful. 

Beth Bowden, All That Dazzles: Nowhere asks us to be brave in our advocacy for others, is a reminder of our responsibility to each other, and invites us to strive for justice, for peace, and for a hopeful future. I only hope we see more of Khalid’s writing in the future - his voice is strong, tender and honest, and his leadership is shaped by experience, vulnerability, and humanity. In 2024, I think we could all do with more of the leadership, hopefulness and humanity that Khalid demonstrates in Nowhere - and I really hope we do. 

Beatriz Do O, West End Best Friend: Ultimately, Nowhere is not a show to sit back and relax with. It asks difficult questions and calls on the audience to feel a sense of urgency. The theatricality of the piece amplifies the message, reminding us of the unique power of live performance to provoke thought, engage emotions, and inspire action. In the end, Nowhere is a bold and innovative piece of theatre that resonates with both personal and political meaning, leaving its audience with a lasting impression.

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