Walking into Studio 50 of The Blue Room Theatre, your sense of smell is ignited as you take in the sharp scents of incense and spices floating through the room. Your eyes adjust to the low amber light and take in the intricately thought out set, masterfully put together by Kelly Fregon. Lab equipment: test tubes filled with brightly coloured liquids, jars of floating specimens, a model of the human skeleton. Tea-ware: a kettle, teapot, mugs and loose leaves. Homely bric-a-brac: knitting needles, an armchair, a lamp, a bookcase. You are transported into a scientist mother’s home in a foreign land, one that is unique, different and exciting.

Dureshawar Khan enters, regal as a princess and with eyes so deep you are drawn into her soul. She begins reciting a poem in Pashto - fittingly, one that she wrote for her mother. This is the beginning of MoR.

There are countless reasons why MoR is undeniably one of the most beautifully moving pieces you will ever experience. Written and performed by Dureshawar Khan and directed by Susie Conte, MoR is the Pashto word for “mother”. Delving into the deepest parts of her mother’s life through the eyes of the migrant daughter, Dureshawar’s incredible spoken word carries you through an array of feelings - from sacrifice and guilt, through to strength and resilience. When I later spoke to Dureshawar to find out her thoughts behind the show, she explained: “I felt it was something I owed my mother after all this time. Writing this piece was as much of an apology as a love letter.”

A fable is told in parallel with her mesmerising live spoken word poetry. With animation and voiceover fading in and out at carefully selected parts, a tale of a bulbul bird (also written by Dureshawar) perfectly complements her own story. The premise: “Don’t be afraid of alienating audiences by sharing your culture. Be yourself, be weird, be ajeeba (Pashto for unique, funny, special).”

When later talking about her own life experiences that shaped the show, Dureshawar states: “To be a trailblazer, you have to set yourself on fire. You don’t just blaze a trail with a candle. My parents didn’t want that for me - they wanted to save me the struggle and be realistic. It took me so many years to let go of that resentment I felt in response towards my parents. I understand as an adult now that you just want to protect your children, you want to soften those harsh edges.”

You can imagine that there are incredibly delicate tones to this topic - but Dureshawar balances her script with just the right amount of comedy, a hint of cheekiness that keeps you endeared and hopeful throughout her musings.

While discussing her career as a poet and theatre maker, Dureshawar acknowledges that it has been a very difficult journey. “It was very hard to get to this point. When I started, there weren’t many people who looked like me in the industry at all. Now I receive feedback after shows such as “I never thought I’d see myself - brown or black bodies - represented on stage.” It is such a victory, hearing those words.” 

MoR is the first show ever in Australia that incorporates Pashto - and possibly even the Western world. Her Pashto dialogue paints a powerful picture, using expression that sounds open, honest and vulnerable. You may not understand the exact meaning behind her words, but the passion and emotion flows through with ease. When speaking about her decision to include Pashto, Dureshawar confirms, “The power is in being yourself. There is no barrier in this piece between who I am and who the character on stage is. I think the best works of art come from a place of vulnerability and that’s important in good storytelling - there has to be an element of truth.”

I am incredibly excited to see what’s next for Dureshawar Khan - through MoR, she has shown that she is one to remember in the theatre scene. I have no doubt that she will continue to inspire audiences in Perth and beyond - if you see an opportunity to experience her art for yourself, do it. You’ll thank yourself later.