This production was made possible through the University of Oregon Presidential Fellow of Arts Award and the James F. Miller Artistic Development Fund for Faculty in Theatre Arts, University of Oregon.
This play is produced royalty-free by generous permission of Samah Sabawi.
This play runs 90 minutes with no intermission.
This production is not recommended for children under 13.
Cover Image: “Mother Protecting Her Children” by Malak Mattar, provided by the artist.
Playwright’s dedication:
“For my cousin Lobna, and for all of the mothers who desperately search for a place to shelter their babies from the falling bombs.” –Samah Sabawi
Land Acknowledgements:
Lane Community College is on the traditional homelands of the Kalapuya people. The Kalapuya were stewards of this land from time immemorial before their traditional way of life was forever disrupted and destroyed. We present this production with humility and reverence for the original inhabitants, the Kalapuya.
Portland Center Stage is on the traditional homelands of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Chinook, Tualatin, Kalapuya, Mollalla, and many other tribes who made their homes along the Columbia and Willamette Rivers. We offer a land acknowledgement as an expression of gratitude and appreciation to those who stewarded this land from time immemorial.
Land acknowledgements do not exist in a past tense, or historical context: Colonialism is a current, ongoing process, and we seek to build an understanding of our present participation.
CAST
Leila………………………………………………………………………………..Zayne Clayton
Omar………………………………………………………………………………Akash Dhruva
Salma…………………………………………………………………………………..Dré Slaman
Mohamed……………………………………………………………………Trevor Tarantino
Majid/Guard……………………………………………………………………….Manny Rojas Meza
Old Woman………………………………………………………………….Brittany Komes
Musicians..“Acoustic Pilgrims”: Wayne Gilbertson and Denise Gilbertson
CREATIVE TEAM
Production Stage Manager………………………………………………..Laura Leader
Stage Manager………………………………………………………….Makayla Meleason
Assistant Stage Manager……………………………………………………Malak Najjar
Lighting Design……………………………………………………..Chase Foster-Adams
Set and Sound Design……………………………………………………Graham Mauro
Costume Design……………………………………………………………..Annika McNair
Intimacy Coordinator & Fight Choreographer…………..Douglas Killingtree
Intimacy Coordinator & Fight Captain…………………………….Brittany Komes
Puppet Design……………………………..Carina Bellendaine & Brittany Komes
Properties Designers………………..Graham Mauro & Carina Bellendaine & Brittany Komes
Costume Assistant………………………………………………………………Sara Smith
Master Electrician/Board Operator………………………………………………………….Ted Martin
Dresser………………………………………………………Emma Kirby
ASL Interpreters (Eugene)…………………………..Kelley Coplin & Kelle Bucolo
FRONT OF HOUSE AND MARKETING
Ticket Sales/Box Office………………………………… Rana Najjar
Poster/Program/Advertising Design……………..Austhried Walle
Portland Photography/Videography………………Naji Saker
DIRECTOR’S NOTE
God’s Forsaken People: War, Refugees, Starvation, Indifference
For the past twenty-one months Gaza has been systematically destroyed, its people bombed, starved, and obliterated. What was already deemed the world’s largest open-air prison has now become a wrecked piece of land where millions of people are forced from one camp to another only to die of violence and hunger.
Over the past twenty-one months I’ve written our elected Presidents, Vice Presidents, Senators, and Congressional representatives. Some write patronizingly professional responses most likely crafted by staffers or AI, while others don’t bother to respond at all. Whatever democracy we have created is one where those in power have little or no connection to the people themselves who are demanding change and receiving absolutely none.
When the University of Oregon granted me the Presidential Fellow of Art Award and the James F. Miller Artistic Development Fund for Faculty in Theatre Arts, I decided that creating art is the only way forward. I had read Samah Sabawi’s beautiful play Tales from a City by the Sea several years ago when I was invited to direct plays about the Israeli-Palestinian conflict in Chicago. When I found Sabawi’s play THEM, I wrote the playwright herself, and she wrote back,
“Dear Malek, Thank you so much for reaching out. I’m afraid my family is not ok, we’ve lost tens of family members, and the horror still continues. But we are, and I am, resilient. The bombs will not strip us of our hope or our faith in humanity. It would be an absolute honour to contribute in any way to opening hearts and cultivating empathy. You are absolutely welcome to use any of my work that you choose. All the best, Samah.”
Once Sabawi gave her blessing in such a heartbreaking email, I knew that producing this play was not only timely, but absolutely necessary. Now, as children are literally starving to death in Sabawi’s homeland of Palestine, we present this play as a tribute to those who are trapped, starving, and suffering as we sit here comfortably experiencing art.
Of course, wars and refugees are everywhere: Ukraine, Myanmar, Yemen, Sudan, Ethiopia… the list goes on and on. According to the United Nations, “At the end of June 2024, 122.6 million people worldwide were forcibly displaced from their homes due to persecution, conflict, violence, human rights violations and events seriously disturbing public order. Among those were 43.7 million refugees” (https://www.un.org/en/global-issues/refugees). Right now, there are refugees trying to cross seas, deserts and mountains desperately trying to escape wars. There are millions living in desperate conditions in refugee camps with no better future in sight.
This play is not just “art” for me. Just this summer, my own people, the Druze, suffered mass slaughter in Suweyda, Syria. Hundreds of people were summarily executed, and the threat of further persecution is ever present. Age old hatreds have surfaced, leading to more armed conflicts, death, and suffering.
What we are seeing across the world is the inevitable conclusion of European colonialism, Western manipulations of foreign governments, the proliferation of arms sales that have flooded the world with weapons of destruction, human made climate change, and draconian foreign policies that have turned many homelands into what our current president cruelly labels “shithole countries.” Is it any wonder that people are being pushed out of their homelands to seek refuge elsewhere?
At one point in THEM, the characters say:
“OMAR: This is happening everywhere these days. Countries compete to make money in contracts to destroy and to rebuild our cities only to destroy them again, but non-one wants the ‘human flood of refugees’ who try to escape from these wars.
MOHAMED: So that’s what we are? A ‘human flood’? Where do people like us go? Where is my family supposed to go? We can’t survive here. My mother died of hunger, my sisters are all on the way… Where are we supposed to go?
OMAR: Heaven.”
Is this the only hope people have now, to suffer in life for a supposed “better off” future in heaven? Is it possible that millions must starve to death when millions of pounds of food are waiting just miles away at a militarily controlled border? Must we continue proliferating arms around the world so that we can have comfortable retirements while others destroy one another? Is the so-called “third world” meant to suffer devastating climate change while we continue to devastate our environment burning fossil fuels? For the time being, the answer seems to be a resounding “yes!”
In his play Juno and the Paycock, the great Irish playwright and poet Sean O’Casey wrote, “Sacred Heart o’ Jesus, take away our hearts o’ stone, and give us hearts o’ flesh! Take away this murdherin’ hate, an’ give us Thine own eternal love!” This play also asks us to now turn our hearts of stone into hearts of flesh. Is it possible for us to do so? Can we find it in ourselves to consider others’ lives as valuable as our own no matter their religion, nationality, or skin color? Sabawi’s play provokes us to not just empathize with these people, but to see them as equals deserving of the same human dignity as the rest of us. Is it within us to do so?
—Malek Najjar, Director
CAST
Zayne Clayton (Leila)
Zayne is a recent UO graduate who has starred in several student short films and theater productions, most recently as Molly Ralston in the Very Little Theater’s production of Agatha Christie’s The Mousetrap and as Emily Webb in OCT’s Our Town. In her free time, she enjoys writing, reading horror novels, walks with her two dogs, Lorelai and Maliketh, and spending time with friends and family, who she’d like to thank for their continued support. She is honored to share this beautiful story alongside a talented, hard working crew!
Akash Dhruva (Omar)
Akash is thrilled to be a part of this production and to be working with such a talented team. He has been in two productions with University of Oregon University Theatre playing Kurt in Let the Right One In and Victor in Frankenstein. He has also been in OCT’s production of Our Town playing Howie Newsome. Akash is very passionate about storytelling in all forms, whether on stage, on screen, or through music and is grateful for the chance to continue growing as an artist. Lastly, he would like to thank his family for their endless support. Enjoy the show!
Brittany Komes (Old Woman/Puppet Design/Props Design)
Brittany Komes is a freshman at the University of Oregon majoring in Theatre Arts. She began doing theatre in high school and is now pursuing performance opportunities in Eugene, including student-led productions at UO’s Pocket Playhouse. Recent credits include 12 Angry Jurors and Pandora and the Sickle Moon. She will appear this fall in Cabaret and Happy Hargrove’s Holiday Humbug at Pegasus Playhouse. With a background in music and dance, Brittany is excited to expand her craft across all areas of theatre. She is honored to be part of this production and grateful to work alongside such a talented team.
Manny Meza (Guard/Majid)
Manny Meza is a CS major at the University of Oregon (Class of 2028) who began acting in Fall of his first year. This is his debut UO show, after participating in the read-through of Kitty and the Crescent Moon. Manny gives all glory and credit to God, who comes first in his life and inspires everything he does. Some fun things about Manny is that he’s a huge fan of Lego, Rango is his favorite movie, and he’s currently vibing to “Don’t Speak” by No Doubt, and his current favorite artist is Ms. Lauryn Hill. You can find Manny on Instagram: @themanny_fanpage.
Dré Slaman (Salma)
Dré earned her MFA in Acting at NIU and studied at the Moscow Art Theatre and William Esper Studio in New York. Her stage credits include Coriolanus (Portland Center Stage), American Fast (Artist Rep), Men on Boats (Third Rail), and Nine Parts of Desire (Mo’olelo). Her on-camera work includes GRIMM, MEDIUM, and Netflix’s METAL LORDS. Dré is Co-Founder and CEO of Farm to Fit, a Portland-based healthy meal delivery company now in its 13th year. She serves on the boards of Oregon Children’s Theatre, Oregon Arts Watch, and Entrepreneurs’ Organization. Her proudest role, however, is mom to 11-year-old daughter Pierce.
Trevor Tarantino (Mohamed)
Trevor is a 21-year-old Theatre Arts student at the University of Oregon. He has loved acting ever since he can remember and has made it his goal to become a professional actor in both film and theatre. Trevor has performed roles in many stage productions, some of his favorites are Ren McCormack in Footloose, Gleb Vagonov in Anastasia, Solomon in Speech and Debate, and Adam (Younger Creature) in Frankenstein: Playing with Fire. Trevor has also recently won a best leading performance award for his role in the short film Dirt and Blood. When not performing, Trevor enjoys hanging with friends, watching movies, singing, working out, and exploring the outdoors.
PRODUCTION TEAM
Acoustic Pilgrims (Musicians)
“Acoustic Pilgrims” is the name of the musical duo Wayne and Denise Gilbertson. They have been playing Middle Eastern music since 1990. They are recording artists and have performed many shows at theaters, festivals, museums, schools, libraries, fairs, restaurants, nightclubs and cultural events in the Pacific Northwest region of the United States. They are honored to be a part of the production of Them.
Chase Foster-Adams (Lighting Designer)
Chase is a lighting designer and technician from California and a recent graduate from the University of Oregon. During his time at UO, he designed the lighting for three University Theatre productions, including The Phantom Tollbooth, Let The Right One In, and Playing with Fire: After Frankenstein. Outside of the university, he has designed for shows with The Very Little Theatre and The Nonstop Players, including August: Osage County, You’re a Good Man, Charlie Brown, and Guys ‘n Dolls. After finishing this show, Chase is moving to Minneapolis, Minnesota to pursue a career in lighting design and technology.
Douglas Killingtree (Intimacy & Fight Choreographer)
Doug is currently pursuing dual MAs in both Theatre Arts and Folklore & Public Culture at the University of Oregon. He holds a BFA in Acting from Southern Oregon University. In addition to his studies, Doug teaches Intro to Acting and Movement for the Actor, and most recently appeared as Creon in the University Theatre production of Antigone. His first play, Kitty & the Crescent Moon, received a concert reading at the UO in March of 2025.
Annika McNair (Costume Designer)
Annika explores the intersection of archival research identity, memory, and cultural resistance through costume. Her work seeks a thoughtful balance between thematic storytelling and ethical representation. This marks her fourth production as designer. Previous credits include The Spirits of Sylvia Beach with the Porthole Players, and three University of Oregon productions: POTUS, Antigone, and The 25th Annual Putnam County Spelling Bee (co-designed with Sara Smith). Annika is honored to contribute to a production that creates space for grief, heritage, and the enduring need to preserve our shared humanity.
Ted Martin (Master Electrician)
Ted is an incoming junior at the University of Oregon majoring in Theatre Arts. His main loves are lighting and scenic design, and he is honored to be a part of this wonderful crew!
Graham Mauro (Scenic and Sound Designer)
Graham works as a scenic designer, technical director, and general theatre maker. His previous credits also include work as a projection designer, properties designer, sound designer, special effects coordinator, special weapons designer/fabricator, and live sound engineer. He is thrilled to be working with such a dedicated cast and crew on a show which showcases the power of human connection.
Makayla Meleason (Stage Manager)
Makayla is a senior at University of Oregon, majoring in Cinema Studies and minoring in Theatre Arts. She has worked on various productions at UO as an assistant stage manager, assistant scenic designer, and others. She has really enjoyed working on THEM and is thankful to everyone on the team!
Malek Najjar (Director)
Dr. Malek Najjar is Professor of Theatre Arts at the University of Oregon where he teaches courses in playwriting, directing, acting, and theatre history. He has directed mainstage productions with Silk Road Rising, New Arab American Theatre Works, and Golden Thread Productions. He holds a Ph.D. in Theatre and Performance Studies from UCLA and an M.F.A. in Directing from York University. He is the author of Arab American Drama, Film and Performance: A Critical Study, 1908 to the Present, and editor of The Selected Works of Yussef El Guindi, Heather Raffo’s Iraq Plays, The Selected Plays of Ismail Khalidi, and Four Arab American Plays: Works by Leila Buck, Jamil Khoury, Yussef El Guindi, and Lameece Issaq & Jacob Kader. Malek is currently a member of the editorial board for Arab Stages and a board member of the MENA Theater Makers Alliance. He dedicates this production to his wife Rana and daughter Malak.
Samah Sabawi (Playwright)
Dr. Samah Sabawi is an award-winning author, playwright and poet. Her memoir Cactus Pear for My Beloved has been shortlisted for the 2025 Stella Prize, The Age Book of the Year award and the NSW Literary Awards’ Douglas Stewart Prize, the book was also highly commended by the Victoria Premier’s Literary Awards. Sabawi’s theatre credits include the award-winning plays Tales of a City by the Sea (2016) and THEM (2019). In 2020 Samah received the prestigious Green Room Award for Best Writing in the independent theatre category, and was shortlisted for both the NSW and the Victorian Premier’s Literary Awards. Other award winning books by Samah Sabawi include the anthology Double Exposure: Plays of the Jewish and Palestinian Diasporas, co-edited with Stephen Orlov, and the poetry anthology I Remember My Name: Poetry by Samah Sabawi, Ramzy Baroud and Jehan Bseiso.
Sara Smith (Assistant Costume Designer)
This marks Sara’s fourth production collaborating with Annika McNair. She has previously worked with her as an Assistant Costume Designer on two shows, as a Co-Costume Designer, and as a Dresser. This production is also her first since graduating from the University of Oregon with a BA in Theatre Arts. Over the next year, she will continue her work in Portland, Oregon. In addition to her design contributions, Sara also served as the show’s photographer.
SPECIAL THANKS
University of Oregon Office of the President
University of Oregon Theatre Arts
Professor Phil Scher
Dr. Samah Sabawi
Malak Mattar
Dr. Rana Najjar
Brian Haimbach, Lane Community College
James McConkey, Lane Community College
Stanley Coleman, Minority Voices Theatre
Carol Dennis, Minority Voices Theatre
Jeanette deJong, University of Oregon
Phil Scher, University of Oregon
Lauren Pinchin, University of Oregon ASU-5
Rosie Dillon, University of Oregon ASU-5
Cia Crowe, University of Oregon ASU-5
Tom Mertes, University of Oregon ASU-5
Emily Bolivar, Lane Community College
Wayne and Denise Gilbertson
MENA Theater Makers Alliance
Andrew Weaver/UO Accessible Education Center
Dr. Colette Vossler-Welch, Hearing Associates, Eugene, Oregon
Cathy Komes
Nancy Wells
Robert Mauro
Emma Kirby
Dean Chris Poulsen, UO College of Arts and Sciences
Janet Rose
Bradley Branam