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EDGE: This play really is an homage to the young people in Egypt, and all over the world, who dare to stand up and face off with the powers that be in order to advocate for themselves and their future. Is that something you each can personally relate to in some way?

Choreographer Samar Haddad King regularly creates work that crosses disciplines and physical borders—a necessary skill set for this We Live in Cairo.

When they first began writing the play, Daniel and Patrick were 19 and 23 respectively. They wanted to capture this very seminal, inspiring moment of revolution in Egypt. As Lebanese Americans who grew up celebrating Arab culture, they sought to create a play that would combat the negative, post-9/11 portrayal of the Middle East in the Western media.

The initial inspiration for the musical came when Patrick Lazour saw a photograph…published in The New York Times [that] shows Egyptian youths gathered around a glowing laptop during the Arab Spring. “They were our age, risking their lives,” Daniel Lazour said.

“The rhythms of Arabic music lend themselves to theater because they’re so infectious and driving,” said Patrick…“And there’s a long tradition of activist protest music.”

The Lazours and their director, Taibi Magar, want to explore what unfolded in the eight years since the events of the revolution and ask hard questions. “What is the nature of activism? Is activism personal? Is it political?” Patrick says. “When is it time to act? When is it time to step aside? Is it ever time to step aside? And how far does one go, how much does one sacrifice, for the love of one’s country?”

A series of post-show discussions with leading artists, journalists, and scholars on topics inspired by the show. A ticket to any performance of We Live in Cairo allows you admittance to any of these talks.

Connecting with Diana Oh as she caps off her yearlong artist-in-community residency at American Repertory Theater.
By Morgan Hume for Improper Bostonian