Driving The Saudis

DRIVING THE SAUDIS iis a play based on my experiences as a chauffeur for a family of Saudi Royals who were visiting Beverly Hills. I was the only woman in a detail of almost 50 drivers assigned to the family and its entourage that stayed 7 weeks in a luxury hotel. The hours were long, I was on duty 24 hours a day/7 days a week, and the requirements were unusual…one night I was sent out to procure 27 bottles of Hair Off. The nature of the employment and the fact that I was the only woman driver allowed for an up close and personal view of a very different culture—one that travels thousands of miles overseas surprisingly intact. I was only allowed to drive the women and as time passed, I was invited to spend intimate time with the family and especially the servants, mostly teenage girls from North Africa and the Philippines.

It was often horrific…and frequently hilarious, and mostly exhausting.

The story explores conceptions and misconceptions of beauty; it describes the challenges and expansion of my own world-view and ingrained Western beliefs; and it is a story that provokes cultural dialogue and exchange. Ultimately, it is an exploration of the subjugation of women in society—theirs as well as ours, and our complicity in that role.

This is a multimedia piece—I use a keynote presentation that includes original and found stills and film footage to illustrate and illuminate the content. There is no set, but rather an 'epic' set…a bare stage; a projector and screen are required for powerful projected visuals that I have culled in the workshop process. It is self-contained, the keynote presentation comes from my computer; I travel with it and a few props only.

Both the director, Charlie Stratton, and I studied at the American Repertory Theatre Program at Harvard University where we learned that solo work in particular needs the benefit of audience exchange to elevate the work. Our workshop in Boston in May of 2007 led to significant changes in the text as a result of audience Q&A’s, and we continue to follow performances with them whenever possible. Early on, we recognized the need for consultation with Islamic scholars and sought information from various universities and think tanks. We workshopped again at Hollins University in Virginia; in Vienna, Austria; we were part of the Angels In Progress Series with Naked Angels; at Cornell University; at the 92nd Street Y-Tribeca; at Playhouse on the Square in Memphis, and at Galapagos Art Space in DUMBO.

— Jayne Amelia Larson