2026 Fringe Review: ‘Shams by Rumi’

Written and directed by Moemen Gaafar, Shams by Rumi follows Galal (Brijesh Nagarathinam) as he and his best friend Husam (Ram Gill) travel to Cairo, Egypt for a big business meeting. The pair are on the edge of getting the backing of a big production company for their plays, which Galal writes and Husam directs. But priorities begin to shift and secrets boil over as Shams (Fatemeh Jelveh-Garan) enters the picture.

The play walks the line of being tender and being lighthearted. It tackles very real issues of oppression, friendship, love, and obligations. For the majority of the play, it indulges in the humour and imagination of its characters. Although, where exactly the story is going isn’t entirely clear.

Galal, who occasionally goes by Rumi, presents himself as a funny, easygoing guy, always wrapped up in writing his plays or chasing a girl. He’s comical and frustrating to watch, which Nagarathinam plays wonderfully. Shams matches his energy, bantering with him, but also challenging him. Jelveh-Garan is incredible to watch in her role. She’s utterly capitvating and shines in every scene.

The story also weaves in the poetry of the OG Shams and Rumi from 13th century Persia. Both Jelveh-Garan and Nagarathinam shift in and out of the different versions of Shams and Rumi with ease. The poetry adds layers to the play that make it feel richer and rawer.

The crux of the play is all about Galal getting wrapped up in his affection for Shams, while Husam tries desperately to keep their professional plans on track. The writing — and performances — shine through in the raw moments between Shams and Galal. When the two characters confront the reality of their lives, it hit me right in the gut.

But at times, the play feels unfocused. The strongest scenes are the ones between Shams and Galal. Husam turns into background noise until his relationship with Galal takes over the play. The most interesting, and the storyline that had me most invested, was how Galal and Shams navigated their dynamic. After Shams disappears for the climax and conclusion of the play, it lost me a little emotionally. Then the writing fell into predictability, seeming to favour a quick ending.

The tech also suffered a bit throughout the play. The mics were a little too loud, making it hard to stay present in intense moments. Gaafar also used a trio of projector screens and music to communicate the setting. What seemed like real, raw videos and photos from cities across the world played on the screens. Unfortunately, it was often hard to see with the lighting on stage.

Altogether, Gaafar’s latest play weaves old and new, humour and heart into a beautiful display of human relationships. While some of the writing and tech is a little rough around the edges, Shams by Rumi is still a great story with even better performances.

You can catch performances at the Fringe until August 23.