IT WAS A RAINY AUGUST EVENING IN AHMEDABAD IN 2024. A group of young theater artists gathered at Scrapyard - The Theatre, an amphi-theatre space, rehearsing for their play, Return to Filastin.
In the play, American-born Palestinian Zed confronts uncomfortable truths as he journeys to Palestine for the first time to explore his roots, ultimately leading him towards a renewed sense of solidarity with his people.
The production was a unique collaboration between Scrapyard, an Ahmedabad based group of young theatre enthusiasts, and The Freedom Theatre, based in the Jenin refugee camp in the West Bank. Having already performed a successful premiere in June, which garnered a warm audience response, the team now faced a new, vital responsibility. They had announced two upcoming shows—one at Natarani Theatre and another at Footlight Theatre—to raise funds for medical treatment for children in Gaza. Though prepared and enthusiastic, their faces betrayed tension, and a serious discussion was underway.
Unexpectedly, an actor had declared he wouldn't be able to perform due to unavoidable family circumstances. With only three days left before the show, they desperately discussed options but couldn't find a feasible solution. A heavy silence, filled with a sense of disheartenment, settled over the room - the sorrow, about potentially not being able to raise crucial funds for children in urgent need.
Just when despair seemed to take over, a team member stepped forward, accepting the daunting challenge of preparing for the role in such a short time. Suddenly, the atmosphere shifted, filled with joy and excitement. They immediately resumed rehearsal, fueled by their theatre's rallying cry: Natak to Thasej (The play will be performed anyhow).
