Discover the Must-See Show at Edinburgh Fringe 2024: 'My English Persian Kitchen'

Looking for that must-have ticket during Edinburgh Fringe Festival? We think we’ve discovered it. Soho Theatre and Traverse Theatre presents the world premiere of My English Persian Kitchen. This life-affirming new play is filled with the mouth-watering flavours of Iran and features live cooking on-stage.

Inspired by best-selling author Atoosa Sepehr’s true story, the play, written by Hannah Khalil (National Theatre of Scotland, RSC, The Globe Theatre), stars Isabella Nefar (Salomé, National Theatre; Tehran, Apple+; Reading Lolita In Tehran, forthcoming feature film) and is directed by Chris White. Discover it in Edinburgh from August 1st to 25th before it transfers to London for a three-week run.

This is a drama about one woman’s quest to start again. Forced to flee with no hope of ever returning home, our heroine finds herself in an unfamiliar place. Longing for the tastes and aromas of her mother’s kitchen she starts to lovingly recreate the dishes of her childhood and homeland, and in doing so builds a welcoming community around food and discovers a new recipe for life.

Inspired by the true story of best-selling cookery book author Atoosa Sepehr, My English Persian Kitchen is a timely play which places community, identity and belonging at its very heart - all marinated in the fabulous flavours of Persia. Hood snatched a few moments with the play’s writer Hannah Khalil and its protagonist Atoosa Sepehr to find out a little more about this groundbreaking play.

Five Minutes with Writer Hannah Khalil

What drew you to Atoosa's story, and why did you feel compelled to adapt it into a play?

At first I was unsure about whether I was the right person to work on this play having no connection to Iran. But when I talked to Atoosa I realised the play is not about Iran, it’s about what it’s like as a woman to have to start over in a new place. Start from scratch. I know what that’s like because that’s what happened to my mum when my parents divorced when I was a teenager. So it felt like something I could bring my own experience to bear on.

And how did your own experiences with food and cultural heritage influence your writing for My English Persian Kitchen?

This was another reason I felt compelled to work on the play- as a person of Palestinian heritage it’s very difficult for me to travel there and see my family so food is a big connector of me. When I cook the dishes my Sitti (granny) used to make me as a child I’m transported back there. Just like the character in the play.

What were some of the challenges you faced in adapting a cookery book author’s true story for the stage?

It’s a huge responsibility to base something on someone’s personal story. I have done it before but nothing quite like this and I wanted to make sure I got it right for Atoosa as well as my own art’s sake. In addition, once I realised the play must have a dish at its centre it was quite a task to find the right dish. Something that could cook in the running time, produce great smells and be workable on stage. I pretty much cooked my way through the whole of Atoosa’s cookbook to land on the right thing. My lucky family were eating a lot of delicious food!

Can you share any particular scenes or moments in the play that were particularly challenging or rewarding to write?

The play is based on interviews I did with Atoosa so actually the hardest parts to write were the purely fictional ones that I entirely made up. Trying to ensure they felt in keeping and truthful to the voice of the character was my concern.

The play incorporates live cooking. How did you approach integrating this element into the performance while ensuring it enhances the storytelling?

The main thing was finding the dish that worked in the time allotted but also has some symbolic significance to the story and character. In the end the dish she cooks is the same as the last meal she has before she leaves Iran so it holds huge emotional resonance for the character.

What do you think the live cooking element adds to the audience’s experience?

The unique thing about theatre is the fact there's a real life human in front of you breathing, talking, living, and adding cooking further enhances our awareness of this liveness by engaging senses that aren't usually employed when experiencing works of art. It’ll make the play all the more dimensional for an audience I think. And make it seem even more real because the cooking is really happening.

The play deals with themes of sanctuary, identity, and community. How did you balance these themes to create a cohesive narrative?

When you’re writing a play - well when I am - I don’t consider themes too much at the outset - it’s story I’m concerned with. And this story of how one woman starts again and goes from loneliness and being an outsider to building a community is one I that could apply to many people and I hope will resonate with everyone.

How was your collaboration with Atoosa throughout the development of the play, and what insights did she provide that significantly impacted the final script?

Atoosa and I hit it off from our first meeting greatly through our shared love of food. The interviews I undertook with her at the start of the process underpin everything and are the bedrock of the play. She’s also been involved at every stage, reading drafts and giving me feedback- quite simply the play wouldn’t exist if it wasn’t for her and I’m so grateful that she has trusted me with her story.

How do you see "My English Persian Kitchen" contributing to the cultural exchange at the Edinburgh Fringe Festival?

I’m excited for people to learn more about Iranian food. Personally I was very ignorant about it until I met Atoosa- I thought it was all kebabs and rice but I couldn’t have been more wrong!

How do you envision the play evolving or reaching different audiences in future performances?

When Atoosa and I first met it was back in Covid times so all our initial conversations were on zoom. We didn’t know what would happen with theatre so there were different models in our minds in case theatre didn’t open for a long time. Once such model was that the play would be a zoom Cookalong show where we would send the audience all the ingredients and they would watch and cook at the same time. The other idea was that we would commandeer an ice cream van and remake it as a van that sells Ash-E Reshteh (Persian herb noodle soup) which is very common in Iran and is our dish. I love the idea of having the show travel round in a little van and be performed out the back of it, who knows maybe that would be a nice way to do a tour!

How do you see the role of food in preserving and evoking memories, especially in the context of migration and identity?

Food is a vital memory tool as it’s a form of time travel. Smell and taste are much stronger memory prompts for many than other senses. Atoosa also says that food has no language barriers so it’s a way to connect people of all languages.

Five Minutes with Atoosa Sepehr

How much involvement did you have in the writing/creation of the play?

Since meeting Hannah we have had ongoing conversations about my story and I’d like to think that those conversations have helped her capture the essence of my story. Hannah has been really supportive and has made me feel included at every stage of the writing process, inviting me to offer feedback on the script as it has evolved over time.

Can you tell us more about the moment or experience that made you realize the profound connection between food and your sense of identity?

When I first came to London, I was quite lonely and homesick for my family and for certain things I like about my homeland. When I reflect back on that period in my life, I now know that I was quite depressed. One thing that reconnected me with my country and the memories of my family and friends was food but I didn’t know how to cook Persian food, so I started learning some recipes from my mom, aunt, and grandma over the phone. My passion for Persian cooking grew and ultimately led to the publication of my first cookbook and to my interest in nutrition that in turn led to me becoming a qualified and practicing nutritional therapist.

How has cooking helped you maintain a connection with your Persian heritage while living in a different country?

Every time I cook Persian food and smell the aromas and taste the wonderful flavours my mind returns to the city of Esfahan where I grew up. It is like a comfort blanket, especially on wet and cold London evenings in winter when reminiscing about my friends and family back home.

What role does the dish Ash-E Reshteh play in Persian culture, and why did you choose this particular dish for the play?

Ash-E Reshteh is a stable food in Iran and is made for big gatherings and celebrations, such as Chaharshanbe Suri, which is the last Wednesday of the Persian year. It’s a very warm and hearty dish. It’s a kind of soup but it’s more than a soup, it’s an entire meal in itself that is associated with family and community. This is one of the dishes I regularly make when I’m hosting gatherings in my home in London.

Your journey involved starting anew in an unfamiliar place. How did cooking help you build a new community around you?

When I started cooking Persian food in my apartment in London my neighbours began to smell the aromas in the hallway and often asked me what I was cooking. Sometimes, when I was making a dish such as Ash, I would make a large pot and share with my neighbours and this helped me to build up an initial community around me. In time, I would invite friends to my home for dinner and again food played an important role in connecting with people through sharing this important feature of my culture.

Can you share a personal anecdote about a significant moment when food helped bridge cultural gaps for you?

My partner and I organised a large summer garden party in London ten years ago with guests from Italy, the United States, Spain, Ireland, Iran, Scotland, and England. I decided to get a leading Iranian restaurant to cater the event, which was a little risky because I was not certain that our guests would enjoy Persian food. However, to this day when I speak with those who attended the party, they still mention how delicious the food was. It was a significant event for me because it highlighted how food can help break down cultural barriers and form a significant topic of conversation, not only during a party but as a nice memory and talking point over time.

What do you hope the audience will take away from your story?

I hope that people will come away from the play with a sense of hope. In particular the idea that life can present new opportunities following a particularly challenging time but we have to recognise and embrace these opportunities in order to redefine who we are as individuals.

How do you see "My English Persian Kitchen" contributing to the cultural exchange at the Edinburgh Fringe Festival?

I think the play will offer a unique insight into Iranian culture and is so doing add to the great mix of cultures that are represented across this very special festival. The focus on Persian food will hopefully shine a positive light on Iran, which is mostly portrayed in a negative light in the mainstream media.

What have you learned during this collaboration?

As someone who does not work in the world of theatre, I have been fascinated to observe how the play has come together, from the initial conversations I had with Hannah to reading an early treatment of the script and then attending the first rehearsals. I have learned so much from watching Hannah refine the script over time and my appreciation of the work that Hannah and others in this field do has been elevated to an entirely new level.

What does the future hold for you?

Right now the focus is very much on this project and the performances at the Edinburgh Fringe Festival and then when it transfers to Soho Theatre in London beginning in September, following which I will continue working on my second cookbook, which comprises a series of receipts that have emerged out of my practice as a nutritional therapist. But I am also open to potential new projects that might result from My English Persian Kitchen.

How do you see the role of food in preserving and evoking memories, especially in the context of migration and identity?

The smell of Persian food always brings my mind back to my family home to Esfahan, to a time when my mom was cooking and I was doing my homework. Food is part of my identity, as it is for most people. For me Persian food is particularly special and is a central feature of who I am as an individual, it’s something that I carry with me regardless of where I live in the world.