“You have been following her around like a lost puppy. All of those longing looks across the table. You think I’m stupid? You think I don’t notice?”  
 
Fairuza and her family take in an old childhood friend for the duration of Ramadan. Everything is not as it seems, however, and Hannah finds herself trying to keep her past hidden in the midst of the dysfunctional family. Secrets are eventually revealed, and long buried feelings resurface as Fairuza and Hannah realize that you cannot hide forever.

Allah in the Walls follows Fairuza, who, with her family, takes in an old childhood friend for the duration of Ramadan. Everything is not as it seems, however, and Hannah finds herself trying to keep her past hidden in the midst of the dysfunctional family.

Jasmin Mandi-Ghomi is a British-Iranian playwright and screenwriter born and raised in Yorkshire. Her work has been staged at the Southwark Playhouse, the Arcola Theatre, and the North Wall Arts Centre, with her debut full-length show MADDY premiering at the VAULT Festival in 2019. Between 2019/2020, Jasmin was on attachment with Tamasha Theatre Company as one of their developing playwrights which culminated in a virtual showcase of her play YOUR VOTE WILL NOT COUNT. Her most recent play was THE MAGIC OF WILD HEATHER, written for the National Theatre’s Public Acts and performed at Cast Theatre in August 2021. She was part of the BBC’s 2022 Northern Voices scheme and is currently one of the artists that make up The Bank Cohort at Sheffield Theatres.

Introducing playwright Jasmin Mandi-Ghomi

What inspired you to write this play?

I set out to write a queer Iranian love story with a happy ending. I had never seen that represented on stage or in the media before but they are happening, they are out there, and I really wanted to bring that to a larger audience. Eventually, the play became a larger celebration of family, identity, and how we can hold space for all of our different experiences. I just kept thinking that a better and more accepting world is within reach but only if these stories are allowed to be told. I wrote this play to be a part of that.

Can you tell us a bit about your journey as a playwright?

Despite writing a lot as a child, I never really thought about playwriting as a career until I left university. A director friend of mine was putting together a night of short plays and asked if I fancied writing something for it. As soon as I put pen to paper I realized that I wanted to pursue writing. I’d never seen myself on stage before and suddenly realized that I could give a voice to myself and my community through writing. I haven’t looked back since!

What or who inspires you as a writer and why do you want to write for the stage?

I am inspired by my family, my community, and the world around me. I almost always start by trying to give a voice to the voiceless and by thinking about telling new stories in exciting ways. I really believe that the immediacy of theatre can encourage an audience to internalise what they are watching and therefore heighten the experience and emotions of it. Theatre can change the world, but only if we make it accessible for everybody.

What do you think about the Bruntwood Prize for Playwriting and, more specifically, the anonymity at the heart of the Prize? 

I think the anonymity of the Bruntwood Prize really levels the playing field for a lot of playwrights who constantly feel like they are on the outside looking in. All you need to enter (and win) this prize is a play and a dream. That idea should be what the entire theatre industry is based on – plays and dreams.

How do you feel about being shortlisted?

I still can’t believe it. I feel like someone might call me up at any second and tell me they’ve made a mistake.