BAGHDAD — It is not poison or a dagger that takes the lives of the young
lovers, but a suicide bomb. The Montagues and Capulets are divided not
just by family, but also by religious sect. And the dialogue in the
Iraqi adaptation of “Romeo and Juliet” is sprinkled with references to
Blackwater, Iranians and the American reconstruction effort.
After a recent performance here at the National Theater, where the dramatic arts were once degraded to serve as a dictator’s propaganda, the audience filed out buzzing over the return of serious art to the Iraqi capital. Cloaked as a Shakespearean classic was a lively rendering of their own lives over the past nine years.
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