Baghdaddy is a play centering the lives of two people: Darlee, aged 8 and her dad who are the main drivers of the action as she accepts her identity as a mixed race person of dual Iraqi-English heritage.

It examines the childhood memories of Jones. It is a refreshing take given its normally people who have fled Iraq or curtains the saviour’s of White Men™️ who are the “heroes”. What was really nuanced pathway was the fact the piece is set into UK, in the home of Darlee’s family; the truth is honest, a searing piece that depicts the experiences of a mixed-race Middle-eastern person from the community of colour.

Ultimately, the use of Clowning compliments the style — the perspective of a child allows Jones’ creativity to superbly demonstrate who she feels she is and where she’s from. It’s the child-like capitalist inclusion of going to the golden-arches restaurant, along with the gorgeous set (designed by) that provides a suitably engaging concept that delivers on the most part.

I preferred the human-side of the conflict and a conversation to the people watching: the involvement of us, and the audience, garnering an inner provocation our very own imagination. I like theatre that challenges but one implemented in an innovative way.

The chorus – made up a great trio of Souad Faress, Hayat Kamille and Noof Oussellam – provided comic relief and a deep spectacle into the minds of the characterises in the absurd format.

The direction by Milli Bhatia (who also directed Chasing Hares) is sublime, with an engaging piece that compels as the action transcends into the second act where we see a tonal shift. The monologues are delivered with such conviction, and it’s a particular type of unease that one encounters with the respective Darlee and her father.

The missing piece – at times – come in the form of the audience wondering what happened to the mother, but overall this is a sparkling debut by Jones of a heart-felt piece that strikes the right notes and shines a light on really important issues: the psychological repercussions (due to the ongoing wars), the American Neo-Imperialism symbolic nature of capitalist consumerism as well as the murderous Saddam Hussein-led regime.

Do not miss this: it’s a perfect blend of a unique theatrical offering, and provides the euro-centric audiences a glimpse into the layers of storytelling that many other members of our society can showcase; for that alone, Jasmine Naziha Jones ought to be proud of really moving and also riveting piece that speaks truth to power regarding endless possibilities for displays within the theatre.

** LISTING INFORMATION **

Until 17 Dec: Jerwood Theatre Downstairs Mon – Sat: 7.30pm (except 24 Nov, 7pm) Thu & Sat matinees: 2.30pm (from 26 Nov) Running time: 2 hours 15 minutes, including an interval Age recommendation: 14+
Book Tickets (via the Royal Court website)