WRITTEN BY HANSJOERG SCHNEIDER, DIRECTED BY PETER BRASCHLER, TRANSLATED BY SAMEH HIJAZI, PRODUCED BY ASHTAR AND MARALAM

For our first production with our students we wanted to stage something that would be a challenging learning experience, not only in terms of the ideals of the story, but also in their exposure to a professional environment; Edward Muallem, professional actor and co-founder of Ashtar, played the role of the father, the Beast was also played by a professional.

The curtains were strong earthy colours. They were arranged to have width and depth -they represented the external forest, where the father was lost, and the wilderness of the mind, where each of us wanders in search of our own beauty or beast.		The Beast is not even vaguely human in front. In the Beast's palace the gates are open. They are adorned with folwers ( his rose garden ), their pretty colours starkly contrast with the ugliness of the Beast. The blue is reminiscent of the sky, yet the gilding, for all its ornateness, reminds us that he is still a prisoner.
Setsard Costumes: Jackie Lubeck Make-up: Ashtar			The Stage area was very large, trainees were encouraged to make maximum use of the space, and to impovise as much as possible.
The same rug upside-down covers the floor of Beauty's home. The same gates closed become its walls. Hinting that that on another level, the story transcends physical placement, being more of a journey into self.		In this way his appearance contrasts with those other real beasts, (the sisters and their finances), who seem to occupy the human realm unopposed. Secondly, his exterior disability parallels the way in which, internally, he has condemned himself.

We decided to do "Beauty and the Beast", because we wanted to present a colourful and lively piece of theatre that opened a window to joy and beauty, with straightforward yet relevant themes. Society’s attitude to beauty / disfigurement is a big issue here, aesthetically and philosophically.

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