The Public Is the “Engineer of Public Taste”... and One of the Keys to the Story
Since the announcement of its participation in the eighteenth edition of the “Summer Cultural Festival 18,” the play “The Engineer of Public Taste” has received widespread acclaim from audiences, who rushed to book tickets before they sold out.
The festival succeeded in adding a distinctive popular theatrical experience in a beautiful atmosphere, reaffirming that comedy can be deeper than a mere moment of laughter. It serves as a space for joy and interaction, and a means that makes the audience feel like an integral part of the performance rather than just passive recipients.
The title “The Engineer of Public Taste” functions as one of the keys to the narrative. The parents’ dream for their unborn child transforms into a vast landscape of comedic contradictions. Instead of the future being just a fleeting wish, the child becomes the project of a grand dream, opening the door to a series of amusing situations that unfolded on stage in a rapid pace, maintaining the audience’s attention throughout.
The appeal of the performance lies in its ability to transform familiar family situations into light theatrical material, allowing the audience to see reflections of their daily lives—whether in the differing viewpoints between spouses, in how they handle new responsibilities, or in the dreams that accompany the anticipation of a newborn.
In terms of performance, Khaled Al-Muzaffar delivered a comedic presence relying on spontaneity, quick wit, and direct interaction with the stage and the audience. These elements contributed significantly to giving the main character a vibrant presence.
The presence of Iman Faisal alongside him created a theatrical harmony, particularly in scenes built on the differing temperaments and viewpoints between the spouses. Meanwhile, Khaled Al-Ajireb and the other cast members added diverse colors to the comedic scene, ensuring that the performance was driven by team spirit rather than a single individual’s presence.
Here, the brilliance of director Abdulaziz Saffar emerged in managing the ensemble, maintaining the rhythm of the performance, and distributing stage space among the characters in a way that served the narrative. He granted each character their own distinct presence, relying heavily on timing, actors’ movements, reactions, and smooth transitions between situations—elements that are integral to the fabric of “The Engineer of Public Taste.”
Music and songs appeared as complementary aesthetic elements of the performance, rather than mere interludes between scenes. This added a different rhythm and gave the experience a celebratory tone appropriate for the nature of popular theater.
