Besties, you cannot fail to be moved by this emotive and evocative play, which tells the tale of the beekeeper of Aleppo, a story loosely based on a man who Christy Lefteri (the book’s author) met in a refugee centre in Athens, after he and his family fled war torn Syria for England.

The story is so powerful because it’s one which belongs to all those who have been displaced from their homes around the world for socio-economic reasons. The family in the play are fictional but sadly, the story is all too true. The authenticity shines through in this adaption by Matthew Spangler and Nesrin Alrefaai. It is evident that the book and adaptation have been created by those who have been personally touched by the themes therein.

The poignancy of the true to life tale is captured by a strong cast, led by Alfred Clay. Onstage throughout, Clay humanises the struggles we hear about all too often: flitting between emotions, thoughts and timelines effortlessly, with direct narration to the audience helping to guide the story, a blend of reality and memory.

The set design by Ruby Pugh is based around a barren, hilly, sandy scene, with the clever use of projection to immerse the audience into war torn Aleppo, amongst nature, in swarms of bees, and under choppy waters, enabling us to be taken along on Nuri’s treacherous journey, both physically and mentally.

The play jumps back and forth through time and place. The non-linear storytelling sometimes loses the audience on the way as it is not always instantly clear where we are, or when. This is confused somewhat further by Joseph Long playing the parts of two key roles, both of which he does exceptionally well, and his ‘Moroccan man’ a stand out performance.

As the play is adapted from the book, many details are portrayed through physical language instead of written language. Along with the music, vivid backdrop and segments of rhythmic dance, the production team led by Miranda Cromwell have tried to create a visceral experience. This is mostly achieved, however is limited somewhat with the static staging, which doesn’t work consistently well; when the cabin bed is used as a ‘moving’ truck and boat, for example.

With humour peppered throughout, mainly at the expense of English professionals, there are some funny moments, adding levity to the harsh realities anchoring the play. The frustrations felt by the refugees is palpable: doctor appointments refused due to the wrong box ticked on a form, requests to sing the national anthem without words and repeated patronising requests by workers to ‘keep hope’. There remains a well deserved aftertaste that we all need to do better by our fellow humans.

Ultimately, this is not the story of a migrant’s journey to the UK. In fact, we start off by knowing they’ve reached England successfully, but a sobering story of humanity, resilience and strength of spirit. Of grief, loss and love.

We are told by Mustafa “where there are bees there are hope”, and there is certainly hope in this uplifting story of humanity, a story which we should all hear.

**** Four stars

Reviewed by: Cara Brazier

The Beekeeper of Aleppo plays at Richmond Theatre until 6 May and continues touring until July.