The Beekeeper of Aleppo - Yvonne Arnaud Theatre

There’s a quote in the show’s programme that reads “Our age is the age of the refugee, the displaced person, mass immigration.” We live in terrifying times. Uncertain and uncomfortable times. When the status quo is constantly being challenged, corruption is reaching far and wide and our reliance on human bonds is stronger than ever. A story like The Beekeeper of Aleppo perhaps never felt more relevant than it does right at this moment.

It follows the story of Nuri (Adam Sina) and (Farah Saffari) as they are being displaced from their home in Aleppo, Syria in 2015 as it becomes rampant with war. It is presented through what feels like a series of flashbacks, as the couple are fighting to get their refugee status in England. It is not quite clear that this is happening, as Sina seemed to be narrating for the majority of the show, but regardless, the storytelling was incredibly strong. The set design allows for the occasional screen projection, giving the audience an anchor to place the events chronologically.

Production Image

Whilst the production is not without its flaws, the power of the story ultimately lies in the words themselves. This is one of those rare instances where what is said carries far greater weight than what is shown, and the text resonates beyond the staging. That is not to diminish the importance of direction, but rather to emphasise that the production depends most heavily on its book, written and adapted for the stage by Christy Lefteri, Nesrin Alrefaai, and Matthew Spangler.

This show gives a voice to the voiceless, those living on the streets conflicted with the desperate yearning for home and the fear of returning to the place they ran away from. It’s an important story, and despite its theatrical shortcomings, this production more than honours it.

Production Image

The lighting design in this show is absolutely stunning, using the dune-like textures of the set to cast intricate shadows that make the stage feel like a picture book brought to life. Yet this visual softness is carefully contrasted with the harsh reality of the story it tells. The production evokes the aesthetic of animated films such as The Prince of Egypt, blending rich colours with childlike imagery, but here it serves to humanise and illuminate the deeply personal experience of displacement, capturing the fear, resilience, and hope at the heart of a story shaped by the Syrian war.

Adam Sina in the lead was everything one could’ve hoped. He carries the weight of grief for the life he has lost while holding onto a fragile but persistent hope for a future with his wife in England, even as the world around him seems determined to prove that such a future is unattainable. As both narrator and participant, he moves seamlessly between direct address and lived action, guiding the audience through memory and present reality with clarity and emotional precision. His delivery never feels overstated; instead, it is grounded, allowing the complexity of loss, resilience, and love to emerge with striking authenticity.

The production is not without its imperfections; there are moments where certain plotlines feel underdeveloped or insufficiently woven into the central narrative. Yet these flaws ultimately feel insignificant. This is not theatre that exists purely to entertain, even if it remains a compelling and beautifully crafted piece to watch. Instead, it is a deeply human story — one that resonates far beyond the stage, reminding its audience of the lived realities behind headlines and the enduring resilience at the heart of displacement.

Production Value: 80%

Value for Money: 70%

Personal Enjoyment: 70%

Overall Score: 73% - ⭐️⭐️⭐️⭐️ (4*)

(AD | Ticket gifted in exchange for an honest review)

Show Information

Venue: Yvonne Arnaud Theatre, Guildford

Playing until: 21st March 2026

Run Time: 2h10min - including a 20-minute interval

Tickets for this venue can be book at the link here.