HowlRound Theatre Commons: There are some, no doubt, in the United Kingdom’s media and across the European continent who rolled their eyes at the idea of the Walk with Amal project (WWA). It was quite possibly the world’s largest theatre festival which saw a 12-foot-high puppet refugee girl walk the refugee corridor from Turkey to the United Kingdom, passing through 8 countries and making around 140 stopovers in towns and villages along the way.
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This is a fascinating theatrical project. From the huge scale of labor, materials, and travel costs to make this happen to the inevitable politics surrounding the piece to the way it reimagines what (and where) theater is, Little Amal is truly a unique work. One line that struck me from this article is that people treated Little Amal “more human than a human.” Little Amal was celebrated in cities that are hostile and dangerous for real refugees. I think if this project has a major failing it’s in trying to do too many things at once. It’s attempt to commentate on what theatre is takes away from the political message, makes Amal a spectacle rather than a guest. However, in theatre, spectacle’s a necessity. Perhaps without the theatrical conversation there would not be as much discussion about Amal’s purpose, her story, her journey, and her humanity. Despite it’s flaws, Little Amal is an ambitious and impressive commentary.
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