PMJ Productions in association with Park Theatre presents the European Premiere of

Faceless

By Selina Fillinger

Directed by Prav MJ
 

'So I’ve been thinking a lot lately and I think I’m ready to convert
 - I know I need two witnesses for it to count so I Googled it'

Susie, a suburban Chicago teenager lives her life on the internet. However, when she meets someone online who convinces her to convert from Christianity to Islam and leave home for Syria, Susie finds herself arrested for conspiring to commit acts of terrorism.

Recent Harvard Law graduate and practising Muslim, Claire Fathi, will be prosecuting for the US government to the full extent of the law…

Inspired by a real court case in the USA.

A thrilling and relevant drama brought to you by the producer of the Park Theatre 2016 hit, Sket. Part of our current art exhibition GLOW was curated by Faceless Director Prav MJ - more infomation here.

Accompanying the play are a series of free post-show talks with speakers including playwright Selina Fillinger, John Cameron OBE - Head of Helplines at NSPCC, barrister Tunde Okewale MBE and journalist James Fergusson, the author of “Al-Britannia, My Country - A Journey through Muslim Britain”

 

 

‘The production offers plenty of food for thought, especially on the thin border between ignorance and heartfelt support’ The Upcoming

‘Selina Fillinger writes an intense play on racism, faith and family’ The Upcoming

‘It’s a provocative subject, handled delicately, intelligently and without stereotyping’  ★★★★ LondonTheatre1

‘The language is witty – in turn, comedic, empathetic, provocative’ ★★★★ LondonTheatre1

‘Prav MJ has directed a truly remarkable production, and the entire cast is to be congratulated for what is one of the most thought-provoking pieces of theatre to watch at the moment’ ★★★★ LondonTheatre1

‘This is a play of sharp dialogue that grabs your attention with its humour and striking debates’ British Theatre Guide

‘The play touches sensitively upon issues of online grooming, the stigmatisation of Muslims, and issues of faith and identity. But its brilliance is the dialogue’ British Theatre Guide