# Bye Bye London

Bye Bye London (Arabic: باي باي لندن) is a Kuwaiti play that became popular across the Arab world for its satirical portrayal of cultural differences and societal issues. Written by Abdulhussain Abdulredha and directed by Munsif Al-Suwaisi and Kazem Al-Qallaf, the play debuted for the first time on November 18, 1981. The cast of the play includes Abdulhussain Abdulredha, Ghanem Al-Saleh, Haifa Adel, Maryam Al Ghadhban and Mohammed Jaber. It also marked the rise of new actors Dawood Hussein and Intisar Al-Sharrah. It uses humor to reflect the changes taking place in the region at the time, addressing themes like cultural exchange, the clash between modernity and tradition, and the influence of Western culture on Arab societies, particularly in the context of London, a common destination for Arab travelers at that time. The play is one of the most famous plays in the Arab world, and many critics have chosen it as one of the top 10 Arab plays.
Bye Bye London is noted for its combination of humor with social critique, a characteristic of Abdulhussain's work. Its continued relevance is evident in modern Gulf culture. The play was both commercially and critically successful, running for multiple seasons. Its humor and relatable themes resonated with audiences, especially those who had traveled to the West and faced similar challenges in adapting to a new culture. The play reflects a time in Gulf history when the region was navigating globalization and modernization. Its critique of both Arab and Western attitudes has ensured its relevance, even as circumstances have changed. The play is taught in theater programs across the Arab world.
On July 31, 2021, the renowned artist Intisar Al-Sharrah passed away in London. She had played a leading role in the iconic play that launched her career, propelling her to stardom in the world of arts. Four years earlier, on August 11, 2017, the play's main star, Abdulhussain Abdulredha, also passed away in London, succumbing to illness after several days in intensive care. Before them, their co-star Ghanem Al-Saleh had passed away in the same city on October 19, 2010, due to lung cancer. Thus, the three main stars of the play, Bye Bye London, all said their final farewells in the city where they had performed, as if life and death were intertwined with the play's title.

## Background

In the late 1970s and early 1980s, many Gulf Arabs began traveling to European cities, especially London, which had become a favored destination for its shopping, entertainment, and cultural offerings. This trend sparked a cultural dialogue as Arabs encountered Western lifestyles that contrasted sharply with their own traditions. Bye Bye London is a comedic reflection of this phenomenon, where the clash of values, expectations, and behaviors becomes fertile ground for satire.
There is a genre of satirical theatre from the Arab world that is often thought to be long gone. Famous Egyptian plays like Madraset El Moshaghbeen (The School of Criminals), Shahed Ma Shafsh Haga (A Witness Who Saw Nothing), and Al ‘Eyal Kebret (The Kids Have Grown Up) remain popular in Arab culture, with their witty lines still used in conversations today. While these plays are known for their comedy, it was their sharp political critique that made them resonate. They mocked an Arab political system that many still see as ineffective today. Despite the rise of online satire in the Arab world, especially in the Gulf where public protests are restricted, stage satire has declined.
These plays were mostly performed in Egypt during Sadat’s "Open Door" policy, which promoted free-market economics but led to social problems like selfishness, family breakdown, and political weakness. Satirical plays were also produced in Kuwait after the 1973 oil boom. While Gulf leaders hailed the oil boycott as a moment of Arab unity, it marked the end of Arab nationalism in the region. Satirists in Kuwait used humor to highlight the contrast between economic wealth and political decline.
Kuwait was at the forefront of this cultural engagement, and the play can be seen as part of a broader wave of social commentary in Kuwaiti theater. The playwright, Abdulhussain Abdulredha, was known for his sharp wit and ability to address sensitive social issues through humor, making Bye Bye London a hit that resonated across the Gulf region.
Bye Bye London became particularly famous. Its cast, including stars like Abdulhussain Abdulredha and Intisar Al Sharrah, portrayed characters as stereotypes of wealthy, indifferent Gulf citizens. The play mocked characters like the Kuwaiti businessman focused on his health in London, the Saudi arms dealer, and the Moroccan immigrant struggling in Europe, satirizing the extravagance of the Gulf's elite in London.

## Plot Summary

The plot of Bye Bye London revolves around Shard bin Juma (Arabic: شارد بن جمعة, played by Abdulhussain Abdulredha), a wealthy Gulf Arab man who travels to London in search of leisure, luxury, and adventure. He is fascinated by the city's opulence and modernity but quickly finds himself in absurd situations due to his lack of understanding of British customs and norms.
Shard goes to London to escape from his family and his wife in particular, and he wants to meet girls and make friends without his wife knowing. He is welcomed by his nephew Safi (portrayed by Dawood Hussein), who is studying in London and makes every effort to protect him from being scammed while in the city. As Shard interacts with the locals and fellow Arabs in London, he begins to confront the stark differences in lifestyle between Gulf Arab traditions and Western culture. From his attempts at communication with the locals to his confusion about the pace and customs of British life, the play offers a series of comedic moments that highlight the cultural misunderstandings between East and West.
In one notable scene, Shard tries to order food in a London bar, only to find himself lost amid unfamiliar dishes and etiquette. His bemusement with the menu, along with his interactions with the waitstaff, underscores how the simplest tasks can become overwhelming when two cultures clash. There he meets Nahash the mountain boy (Arabic: نهّاش فتى الجبل, played by Ghanem Al-Saleh) and a person named El-L’arbi El-Siddiq (Arabic: العربي الصّديق, played by Dawood Hussein) from Morocco. In this scene, the trio performs the song "Al-Harami Ma Yemoutshi," which carries a powerful message. It is an old Moroccan song from the Moorish heritage, recounting the tragedy of the fall of Andalusia (modern-day Spain) from the hands of the Muslims. It also tells the story of the Muslims who migrated from Andalusia to Morocco, particularly after the fall of Granada. The lyrics reflect the era of the atrocities committed during the Spanish Inquisition.
The play also features a cast of supporting characters, including other Gulf Arabs living or traveling in London. These characters add depth to the narrative, as each of them represents a different facet of the Gulf's relationship with the West—some are eager to embrace the new culture, while others are more skeptical or critical of the West's influence on Arab identity. The ensemble cast's interactions serve to expose not only the misunderstandings between Gulf Arabs and the British but also the generational and class divides within Arab society itself. The play is not without symbolism, political and social allegories, and criticism of certain Arab situations.

## Characters

* Abdulhussain Abdulredha as Shard bin Juma: The protagonist, a wealthy Gulf Arab man traveling to London. His character represents the fascination with Western culture that many Gulf Arabs felt at the time, as well as the challenges of navigating an unfamiliar environment. Shard is a mix of curiosity, ignorance, and arrogance, making him both a lovable and laughable figure.
* Ghanem Al-Saleh as Nahash The Mountain Boy: Another key character, Nahash is one of Shard's friends, who serves as a counterbalance to Shard's enthusiasm for Western culture. He is more cautious and grounded, often pointing out the absurdity of Shard's actions.
* Intisar Al-Sharrah as Auntie Samira (Al-Khala): A comedic elderly character. She is Shard's wife, who embodies traditional values and provides a humorous contrast to Shard's attempts to assimilate into Western society. Her conservative views create amusing situations as she tries to navigate modern London life.
* Dawood Hussein as Safi - El-L’arbi El-Siddiq - Franco
* Haifa Adel as Wafa' - Janet - Francesca
* Maryam Al-Ghadhban as Sabeeka
* Mohamed Jaber as Adam
* Various British and Arab supporting characters: The play features a host of supporting roles, including British locals and other Gulf Arabs living in or visiting London. These characters serve to highlight the diversity of responses to cultural exchange, from full embrace to total rejection.

## Themes
### Cultural Clash and Identity

The play's central theme is the clash of cultures, focusing on how Gulf Arabs, represented by Shard, grapple with Western ways of life. The character's confusion, embarrassment, and humorous mishaps are rooted in the vast cultural differences between the conservative, family-oriented Gulf society and the liberal, individualistic culture of London. The play critiques both sides, using humor to point out the absurdities of trying to fit into a foreign culture without fully understanding it.

### Modernity vs. Tradition

"Bye Bye London" also reflects the tensions between modernity and tradition, a key issue in many Gulf countries during the late 20th century. As these societies began to experience rapid economic growth due to oil wealth, they were exposed to Western culture through media, travel, and trade. This exposure led to questions about how to balance tradition with modernity, a dilemma that Shard and other characters in the play face. The play doesn't provide clear answers but instead highlights the complexity of this balancing act.

### Reveling in Charades

The play presents a convoluted plot but a clear theme, focusing on the hedonistic exploits of wealthy Arab visitors in London, who are preyed upon by the city's schemers. At a hotel bar, Shaared and his Saudi friend Nahhash bond over chauvinistic complaints about their wives, indulging in misogynistic humor. As they revel in gambling, alcohol, and the company of prostitutes, their self-satisfaction begins to crumble. The hotel manager, Adam, conspires with escorts to blackmail the guests, exposing their vulnerabilities. The facade of Arab male bravado falls apart, revealing two lonely, middle-aged men who realize their wealth grants them little more than fleeting pleasures. Shaared, however, recognizes the emptiness of their excess, occasionally undercutting their indulgences. The play satirizes the arrogance and privilege of Arab men, much like an early Michael Moore might target foolishness and excess in his work.

### Social Satire

Abdulhussain Abdulredha was known for his ability to use satire to address sensitive social issues. In "Bye Bye London," he critiques the behavior of wealthy Gulf Arabs who, dazzled by Western luxuries, often forget their roots. The play satirizes the way some Arabs adopt Western habits superficially, without truly understanding the cultural context behind them. Shard's interactions with British locals are laced with humorous misunderstandings, but they also offer a deeper commentary on the challenges of cross-cultural exchange.

### Facing the Tragedy, Mocking the Farce

The scene shifts from the indulgent antics of Arab men to a more profound commentary on political impotence, centering around Palestine. Nahhash, the Bedouin arms dealer in bright yellow robes, is sold a shipment of absurdly advanced weapons by Adam, the hotel manager. The weapon system promises total destruction of any spot on a map with minimal effort, yet the demonstration involves a harmless plastic toy gun—a biting reference to the bogus weapons Arab armies were sold during the 1948 Nakba. Nahhash and Shaared consider various targets before settling on Israel, believing that its destruction would liberate them all. However, when they pull the trigger, the result is a mocking fart, highlighting the futility of their aspirations. This darkly comic scene underscores the Arab world's desire to defeat Israel, juxtaposed against their complete helplessness. The phallic toy becomes a cruel metaphor for their impotence, reflecting the irony that, despite possessing the "ultimate weapon" of oil wealth, Arabs remained politically powerless in the 1970s.