This ferociously funny drama, follows the intertwined lives of a quick-witted tiger, two homesick American marines, and a troubled Iraqi gardener as they roam the streets of war-torn Baghdad in search of meaning, redemption, and a toilet seat made of gold. Surreal and darkly humorous, it explores the madness of life in war as well as the power and the perils of human nature.
The play gets over-entangled in its philosophising in places. But that’s offset by Hunter, who stepped into the role at the last minute to replace the unwell David Threlfall, and is quite superb. Dressed in a scruffy, tawny old coat and scuffed boots, she prowls the action, sardonic, stealthy, commenting on events with deadpan humour and grumbling at being forced into a sudden moral re-evaluation of her natural instincts — eating children and the like — by her posthumous existence. Her ethical musings, absurd as they may seem, underpin the play, contrasting with the madness of human atrocities. And she ends it with a quietly chilling warning: “Be conscious of the wind: where’s it coming from. Be still. Watch. Listen.”
In fact, the whole play rails against sentimentality, an admirable tactic that forces us to face war like grown-ups but which has its downsides. The first act, grounded in the men’s experiences, might not let us weep, but it does let us feel. However, after the interval, as Baghdad fills with ghosts, the action becomes more abstract, the focus turns more intensely to existential and religious musings, and the philosophical overtakes the emotional.
| 2011 | Broadway |
Original Broadway Production Broadway |
| 2025 | West End |
West End |
Videos