It is not uncommon for Egyptian creatives to yearn for an artistic landscape where they can truly excel, only to encounter a lack of support and infrastructure in their country. Struggling with their untapped potential and untamed creativity, artists sometimes contemplate leaving Egypt to realize their dreams.
“Major cultural institutions and opera houses have serious corruption issues that hinder experienced artists from helping and guiding the younger generation of artists, especially rising singers,” says Hana*, a soprano singer who recently moved to Germany to pursue opera studies. “There are hardly any opportunities for the youth to participate and excel in the field,” she adds.
This problem is particularly relevant for Egypt’s opera scene, which has become heavily commercialized, according to Sarah Edward, a devoted opera connoisseur and amateur pianist who has immersed herself in Egypt’s art scene for over 15 years.
As Edward highlights, the lack of adequate support and infrastructure for rising talents within the country has led talented Egyptian opera singers, such as Farrah El Dibany, Amira Selim, Ragaa Eldin, and Hany El Shafei, to seek opportunities abroad to fulfill their potential, according to the “Egyptian Street” website.
“The opera scene has shifted from being a platform for genuine opera enthusiasts to a space where other motivations and interests prevail, leading to a negative impact on the overall artistic experience,” Edward explains.
In her view, such an environment is one where new art forms cannot thrive because art is not being created to be enjoyed; it is being treated as a business. And business ventures in new territories and outside the status quo are usually supported by something other than the established system.
Though this was no different for Fabrica – Egypt’s first musical theater company – they dared to challenge the status quo that left little to no space for their art form.
Founded in 2013 by Dr. Nevine Allouba, leading soprano in the Cairo Opera House Company and Professor of Music at the Cairo Conservatory, Fabrica boldly embraces its role as the pioneer of musical theater in Egypt, fueled by a mission to introduce this art form in all its diverse and internationally acclaimed glory.
What sets Fabrica apart from past iterations of musical theater in Egypt is its approach, which prioritizes professional music skills in the conceptualization and execution of musical theater productions.
“The music guides the story and everything else. The story serves to enhance the music’s impact and vibrancy, not the other way around,” says Farida Islam, co-director of Fabrica’s latest production ‘Musicals?!’, explaining the distinction from the traditional approach of masraheyat she’reya (poetic theater) examples of which include Yama fi al-Jirab ya Hawi, where dramatic aspects take precedence over singing.
Elaborating on the same point, Edward explains that musical theater centers around the performers’ musical abilities. At the same time, in masraheyat she’reya, poetic language takes precedence over musicality, focusing on the spoken word and the emotions conveyed through the dialogues and acting.
Poetic theater has historically relied on celebrated actors and actresses and their delivery of powerful dramatic performances. Meanwhile, the musical theater branch needed more extensive professional and systematic training in singing skills.
Recognizing this gap, Fabrica, Egypt’s pioneering musical theater company, stepped up to address the demand for comprehensive and specialized vocal training.
In an interview, Youssef Basir, co-director of “Musicals?!”, explains that Fabrica has a deliberate strategy to Arabize worldwide musicals, rendering them more relevant and relatable to the Egyptian audience.
An exceptional illustration of their efforts is their Arabic adaptation of Les Misérables, which garnered prominence and was featured in snippets on Bassem Youssef’s satirical comedy show ‘Al Bernameg in 2013. Far from a mere translation, this production weaved in historical references, offering a glimpse into Egypt’s socio-political turmoil.
Aiming to make musical theater accessible to Egyptian audiences of all regions and backgrounds is a goal that lies at the heart of Allouba’s mission. She has always sought ways to introduce opera and musicals to wider audiences. Presenting these works in Egyptian Arabic, she believes, can pave the way for a far-reaching artistic impact.
With a groundbreaking commitment to artistic growth, Fabrica continues to enrich the Egyptian art scene, not only by opening doors for rising artists who previously faced challenges finding backing and support for their creative journey but also by bridging the gap between the worldwide Broadway scene and the richness of the Arabic language and music.
