Broken Wings review

Based on the novel by the Lebanese-American author Kahlil Gibran, the musical Broken Wings had its first, albeit brief, professional outing in 2018 at the Haymarket in London, directed by Bronagh Lagan. 

Adapted for the stage by Nadim Naaman and Dana Al Fardan, this version opens in 1920s New York as the ageing, contemplative Gibran looks back on his life as a young man growing up and falling in love in Beirut. The object of his affection is Selma, who is already betrothed and later marries the bishop’s dissolute nephew. The couple meet in secret and their relationship deepens but Selma eventually draws a halt to these assignations and tries to make her marriage work.

This new production, once again directed by Lagan, is blessed with a longer run but the director has changed the form to an in-the-round production. This change, plus the added automation of a revolve certainly add dynamism to an otherwise stately production that tends to lack variety and texture.

Naaman and Al Fardan’s score is pleasingly evocative of an old Beirut but the tones are those of melancholy, regret and loss. It’s either sentimental or overblown, with nothing in between. Gibran and Selma fall in love with a pace that puts Romeo and Juliet to shame and there are big ballads to reflect the depth of their love. But there’s nothing reckless or comical, even from the hideously underwritten villains Bishop Galib and Mansour, played with alacrity by Johan Munir and Haroun Al Jeddal respectively. Without that variety, Broken Wings has difficulty taking flight.

There are strong performances throughout, including co-author Naaman as the older Gibran, who acts as a narrator of sorts. One of the more satisfying elements of the structure of this musical is how Naaman occasionally harmonises with his younger, impetuous self, played by Lucca Chadwick-Patel. It makes sense of the narrative structure and these are two voices that complement each other perfectly.

Noah Sinigaglia captures Selma’s fiery spirit and noble nature, but too little time is given to her thoughts and feelings. We know it’s a patriarchal society with medieval views on marriage law. Exploring the women’s views – especially Selma’s – more thoroughly would have broadened the perspective of this musical.

On the plus side, there is the uplifting Spirit of the Earth number, which provides a much needed boost to the second act. The mellifluous vocals of Soophia Foroughi as the Mother soaring above all else in this show’s 11 o’clock number is a quality high-point. Lagan’s direction and indeed Erika Gundusen’s tight musical direction tries hard to counter the awkward pacing of the story and, to an extent, it works. However, Broken Wings is a promising musical that seems to still be in the fixing stage rather than the finished product.