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March 9, 2015
Review: The Nomad
Neil Redfield and Teri Madonna in "The Nomad." Photo: Isaiah Tanenbaum
Neil Redfield and Teri Madonna in "The Nomad." Photo: Isaiah Tanenbaum

Swiss-born writer, explorer and enigma Isabelle Eberhardt is a subject worthy of an epic. Killed in 1904 by a flash flood in Algeria, Eberhardt lived by her own set of rules, often eschewing patriarchal codes of propriety asserted by both her Victorian origins and her adopted Arabic culture. She converted to Islam, cross-dressed, renamed herself Si Mahmoud Essadi, openly enjoyed carnal and herbal pleasures, and was a champion of social justice. In The Nomad, a lush and lyrical musical by Elizabeth Swados, Eberhardt’s extraordinary life is imaginatively reawakened by The Bats, the Flea Theatre’s resident acting company.

The story begins and ends with death. Eberhardt (the spirited Teri Madonna) moves to Northern Africa at the age of 19, and loses her beloved mother (Glenna Grant) soon after. From then on comes a series of experiences — roaming the Sahara, carousing with nomadic tribes in the desert, coming to blows with French colonialists, marrying an Algerian soldier (Neil Redfield), and eventually meeting her own death at 27. Throughout it all, she recorded her experiences, writing for newspapers and her own diaries.

Telling the story of The Nomad is a strong ensemble composed of about a dozen actors, skillfully playing an assortment of supporting characters in Eberhardt’s journey. This includes a fantastic puppet of the horse she rides through the desert. Sydney Blaxill plays the young Isabelle, who often attaches herself to Madonna like a shadow, providing a rich harmony.

Teri Madonna and The Bats in "The Nomad." Photo by Isaiah Tanenbaum.
Teri Madonna and The Bats in "The Nomad." Photo by Isaiah Tanenbaum.

Swados, who wrote the book and lyrics (along with Erin Courtney), composed the music and directed the play, has crafted a magnificent work. The dialogue is poetic, the music operatic and full of Middle Eastern influences. The Arabic language weaves through the music and liltingly filters through the air like smoke from a hookah, as gorgeous as French.

You can see that Swados greatly admires Eberhardt; there is a literal shrine to her onstage. However, for all the play glorifies Eberhardt, it does not shy away from the criticisms of her life. Many considered her dangerous, offbeat, and inappropriate, and at least one attempt on her life is portrayed in The Nomad. This dynamic portrayal of the short life of a female nomad is irresistible, because though it is not incomprehensible to imagine such a feminist living in our times, Isabelle Eberhardt lived over one hundred years ago. It’s a testament to her spirit that she lives on.

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Written by: Tami Shaloum
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