In a sparse, wood-floored studio, Saudi women squat, lunge and do headstands. Even a year ago, teaching these yoga postures could have rendered them outlaws in the conservative Islamic kingdom.
Widely perceived as a Hindu spiritual practice, yoga was not officially permitted for decades in Saudi Arabia, the cradle of Islam where all non-Muslim worship is banned.
But with Crown Prince Mohammed bin Salman vowing an "open, moderate Islam", the kingdom last November recognised yoga as a sport amid a new liberalisation drive that has sidelined religious hardliners.
Spearheading efforts to normalise yoga in the kingdom is Nouf Marwaai, a Saudi woman who has battled insults and threats from extremists to challenge the notion that yoga is incompatible with Islam.
"I have been harassed, (and) sent a lot of hate messages," said the 38-year-old head of the Arab Yoga Foundation, which has trained hundreds of yoga instructors in the kingdom.
"Five years ago, this (teaching yoga) would have been impossible," added Marwaai, as she began training a cluster of women students at a private studio in the Red Sea city of Jeddah.
Hanging up their body-shrouding abayas and headscarves, the women stretched in unison in an arching warrior pose known as "virabhadrasana".
Arms outstretched, their bodies folded into a 180-degree backward bending posture known as "chakrasana", or wheel pose.
In a country where women have long been denied the right to exercise publicly, the students -- some of whom regularly attend yoga retreats in India -- said the exercise had transformed their lives.
Ayat Samman, a 32-year-old health educator, said yoga helped alleviate her lifelong struggle with fibromyalgia, a chronic pain disorder that often left her bedridden.
Yoga also works as therapy, the women said, helping them vent bottled up emotions and tackle a woefully common ailment -- depression.
"It just opened me up like a water balloon," said Yasmin Machri, 32.
"After my first class... I started breaking down and crying."
- Religious outreach -
In just a few months since yoga's recognition, a new industry of yoga studios and instructors has sprouted in various Saudi cities. That includes Mecca and Medina, Islam's holiest cities, Marwaai said.
Prince Mohammed, the de facto ruler, has sought to project a moderate image of the kingdom, long associated with a fundamentalist strain of Wahhabi Islam, with a new push for inter-religious exchange.
Saudi Arabia in recent months has hosted officials linked to the Vatican and the prince also met a group of Roman Catholic and Jewish leaders in New York earlier this year, in a rare inter-faith gesture.
"The prince's outreach to other religions is apparent in the interfaith gatherings and the new enthusiasm for Saudi Arabia's pre-Islamic heritage," said Kristin Diwan, of the Arab Gulf States Institute in Washington.
For decades, Saudi rulers derived much of their legitimacy from their alliance with a clerical establishment that pushed a puritanical vision of Islam.
But the prince appears to have upturned the system, seeking instead to tap support from the kingdom's swelling youth base through a surge of nationalism and a much-hyped modernisation drive.
Saudi columnists have openly called for abolishing the once-feared religious police as the kingdom introduces entertainment, including mixed-gender concerts, and re-opens cinemas after a decades-long ban.
Prominent hardline Salafist clerics with millions of followers on social media have been jailed, with some on death row, as the crown prince clamps down on dissent.
"The religious networks which once led campaigns against more liberal ideas appear cowed, but new practices like yoga are always subject to ad-hoc attacks," Diwan said.
- 'Nothing to do with religion' -
Yoga is still regarded as a deviant practice in conservative circles, sometimes associated with witchcraft, and Marwaai's students say they often confront accusations of betraying their religion.
"I receive messages through social media asking: 'Are you a Hindu? Did you turn into a Hindu?'" said Budur al-Hamoud, a recruitment specialist.
"Yoga has nothing to do with religion. It's a sport... It does not interfere with my faith."
Yoga is seen at odds with several other faiths, but the recognition of the practice in Saudi Arabia –- the epicentre of the Islamic world –- appears to have given a new impetus to Muslim yoga practitioners around the world.
Marwaai is taking on conservatives not just in the kingdom but also India, the birthplace of yoga where clerics last year slapped a fatwa, or religious edict, against a female Muslim yoga teacher just days before the kingdom recognised the sport.
In a shrill Indian television debate, Marwaai -- a lupus survivor and recently awarded the Padma Shri, one of India's highest civilian honours –- calmly sought to reason with Muslim clerics who hurled insults at her.
The clerics were particularly opposed to "Surya Namaskar", a yoga sequence designed to greet Surya, the Hindu sun god, and the chanting of Hindu mantras.
"It is not the worshipping of the sun and the moon," Marwaai responded as tempers frayed, denying they engaged in chanting.
Unconvinced, a cleric said the set of physical movements in the Muslim prayer ritual offered enough exercise.
The slow meditation does not increase the metabolic rate, Marwaai retorted. "Prophet Mohammed used to race with his wife."
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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