INTERVIEW: Khawla Ibraheem’s new play is about surviving daily life in Gaza
Photo: A Knock on the Roof was written by and stars Khawla Ibraheem. Photo courtesy of Joan Marcus / Provided by Print Shop PR with permission.
Khawla Ibraheem performs in A Knock on the Roof, her one-person show now running at the New York Theatre Workshop on the Lower East Side of Manhattan. The piece follows the character of Mariam, described as a mother trying to survive during a sweltering summer trip. The show offers an intimate and authentic look into daily life in Gaza, the strip of land that continues to make real headlines as Ibraheem performs the piece each and every night.
A Knock on the Roof, running an intermissionless 85 minutes, is being presented in partnership with the ongoing Under the Radar Festival. The co-production comes to NYTW courtesy of piece by piece productions.
Recently Hollywood Soapbox exchanged emails with Ibraheem, a playwright, actor and director. She is a regular at many theaters in Palestine, including El Hakawati (the Palestinian National Theatre in Jerusalem), The Freedom Theatre in Jenin and Al Jawal Theatre in Sakhnin, according to her official biography. Following its New York City run, A Knock on the Roof, directed by Oliver Butler, will play in London at the Royal Court. Questions and answers have been slightly edited for style.
How would you describe the character of Mariam?
Mariam is just like any of us: a complex human being. She is a defiant woman and a nurturing mother. She is determined yet trapped, carrying both identities, though one often overshadows the other. She tries her best: loving, protecting and guiding her 6-year-old son, Nour. But she is also a woman with her own dreams, fears and a life she never fully chose. She keeps trying to “act normal,” but nothing about a life shaped by war and siege is normal. Still, she pushes forward. Even as the world falls apart around her, she keeps going for her child, for herself, for the small moments of warmth amid the chaos. Because she is not just surviving, she is refusing to let the world strip her of who she is, and she does all of this while holding her son’s hand, guiding him through a reality no child should ever have to endure.
Has the play and character only become more resonant as the world has changed these past few years?
While the story has always been deeply rooted in the reality of war, it’s not so much that it has resonated more recently — it’s that the harsh truths it addresses continue to repeat themselves. The first monologue was written 10 years ago, and yet, the underlying impact of conflict remains unchanged. The cycles of war may shift in timing or form, but the pain and its effects on humanity endure. Sadly, the themes of this play are as relevant today as they were when I first wrote it, highlighting a painful reality that has yet to be resolved.
How challenging is it to perform the piece, to be the only one on stage for 85 minutes?
Short answer: Definitely!
Long answer: Portraying Mariam for 85 minutes is no easy feat. She is a complex character, and it’s not just about “acting methods.” In fact, I barely consider it acting. It’s more about truly embodying her and being present with the audience. I’m living through Mariam’s story while staying connected with them. I engage with the audience directly, ask questions and react to their responses — whether it’s commenting on a sneeze with a “bless you” or addressing a ringing phone or a dropped item, all while staying in character. It requires a constant level of awareness and focus, and that is a lot more difficult than it sounds. On top of that, I’m delivering the story in English, my third language, which adds another layer of challenge. The physical demands of the role, coupled with the emotional weight of the character, make it even more intense. And considering this is the longest run I’ve had for the play, maintaining the energy to deliver a fresh performance for eight shows a week can be incredibly demanding.
What did Oliver Butler bring to the play?
Oliver and I first met in 2019 at the Sundance Theatre Lab, where we were working on a different project. From the start, we discovered that our collaboration as a writer/director team sparked a wonderful flow of creativity and opened new doors in each other’s imaginations. Oliver is not only an incredibly talented director, but also a sharp and insightful artist to collaborate with. His involvement in the process introduced a wealth of thought-provoking questions, conversations and fresh perspectives, allowing to approach the material from multiple angles.
What’s next for the show after the New York City run?
After our New York run, we’ll be heading to London for the Royal Court as part of their 2025 season. The show will run from Feb. 21 to March 8 at the Jerwood Theatre Downstairs.
By John Soltes / Publisher / John@HollywoodSoapbox.com
A Knock on the Roof, written by and starring Khawla Ibraheem, continues through Sunday, Feb. 16, at the New York Theatre Workshop. Click here for more information and tickets.
