The Believers Are but Brothers

Theatre (drama, multimedia)

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  • Assembly George Square Studios - Two
  • 11:00
  • Aug 23-24
  • 1 hour 5 minutes
  • Suitability: 16+ (Guideline)
  • Country: United Kingdom - England
  • Group: Javaad Alipoor
  • Warnings and additional info: (14+)Audience Participation, Contains Distressing Themes, Strong Language/Swearing. We ask audiences to join optional WhatsApp group to enhance experience of the show. Please arrive at least 30 mins prior to the performance start time.
  • Babes in arms policy: Babies do not require a ticket
  • Policy applies to: Children under 18 months
Dates, Times and Prices

Description

From the postcolonial Middle East, to the EU and USA, old orders are collapsing. Tech-savvy extremist groups are ripping up rulebooks while a generation of young men burn with resentment and unfulfilled self-entitlement whilst falling into online worlds of fantasy, violence and reality. Fresh from the UK premiere of it’s BBC4 adaptation, this Scotsman Fringe First (2017) winner returns for a limited run. 'Complex... masterly... one of the most fascinating shows I have seen in an age' ***** (Financial Times). Part of the British Council Edinburgh Showcase 2019. Originally co-commissioned by HOME, Transform and Ovalhouse.

Please note that while all media gallery content is provided by verified members of the event, the Edinburgh Festival Fringe Society does not review or approve this content before it is posted. Reports of inappropriate content or copyright infringement can be directed to [email protected].

General venue access

  • Accessible entry: There are 12 steps into this venue.
  • Wheelchair access type: Not fully wheelchair accessible

  • Stairs: 11- 20
    Number of stairs is provided as guidance and is not in addition to any wheelchair access type (lift/ramp etc) stated above.

Each venue can contain several space with different accessibly information. Visit the venue page for full venue accessibility info


How and when to make an access booking

Our access tickets service is available to anyone who:

  • Would like to book specific accessibility services, e.g. a hearing loop, audio description headsets, captioning units, seating in relation to the location of the BSL interpreter
  • Requires extra assistance when at a venue
  • Has specific seating requirements
  • Is a wheelchair user
  • Requires a complimentary personal assistant ticket to attend a performance

Rachel about 3 hours ago

Devastating and essential. Everything about this production felt delicately interconnected and important, the braided narratives of three far-flung and markedly different men, the ease with which you participate, the incorporation of the specific and the generic (playing with stereotypes, anecdotes, case studies, found footage).

It's the kind of work that reconfigures and crystalizes the amorphous fears we live with, I was left genuinely shaken by the realities it laid bare – because they became so obvious and so LOGICAL. What's shared between alt-right and religious extremists, what's sparked in us, too.

The use of tech feels at times overwhelming, almost an onslaught, but this is all incredibly effective in rendering the possibilities of that compulsive need to be seen and heard. The experience of watching the play (specifically as a woman – it's important to state because Alipoor states that, for practical reasons, this is specifically NOT about women) was one of both empathy and disassociation. So easy to follow the insidiously logical moves that might take a young man from isolation to violence, so horrifying to see how easy, how incidental it can feel when responsibility is diffuse and these new mythologies of meaning are written collectively.

The exploration is of universal manifestations of fear/isolation was terrifying. This is *NOT* about Islamic extremism, but about how a lost sense of purpose and meaning can manifest as extreme isolation, how that isolation can become galvanised as resentment, and how that resentment channeled through contemporary modes of connection (the internet replacing tradition or family, for example) can be weaponised, marketed, idealised, until hate is aspirational.

So much more to say about this. I cried for an hour after exiting, but I'd still watch it over. This is theatre at its most powerful and most essential, the writing is fantastic, beautiful, poetic; the staging is agitating and bombarding yet compuslive; the end result is unforgettable.

Agnes Joyce Wells 1 day ago

This show was indeed different. Be warned ...you need your mobile phone with you as it becomes an integral part of the show. As the topic was about IS recruitment I thought there was going to be some sort of religious backlash aimed at non Muslims but it turned out to be fairly balanced. Full of technology with the visual content being displayed with screen shots of some of the dreadful terrorist images from that war. A dark show.....but would recommend.


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Dates, Times and Prices