Language Acquisition as a Necessity

Unlike casual language learners—such as those in a high school French class or using Duolingo—the characters in Sanaz Toossi’s Pulitzer Prize-winning play “English” experience language acquisition as a critical necessity. Set in Karaj, Iran, in 2008, the narrative revolves around four adults enrolled in a class aimed at passing the Test of English as a Foreign Language (TOEFL) exam.

Individual Motivations for Mastery

Each character has unique motivations for achieving a high score: Elham (Tala Ashe) needs it for medical school in Australia; Omid (Hadi Tabbal) seeks a green card; Roya (Pooya Mohseni) aims to meet her son’s expectations in Canada, where he raises his daughter speaking English; and Goli (Ava Lalezarzadeh) may lack a clear plan but understands that fluency in English is essential. While there are moments of enjoyment—like show and tell, a vocabulary drill game with a ball, and screenings of classic romantic comedies—passing this exam is of utmost importance for this group of English language learners.

Innovative Language Dynamics

Students are generally expected to communicate solely in the language of instruction, though this rule is frequently bent. In a clever twist of playwriting, Toossi has created a system that eliminates the need for supertitles: when characters speak English, they do so with thick Iranian accents, while their Farsi is delivered in unaccented English. This distinction is immediately clear on stage, effortlessly understood by audiences from the moment the dialogue begins, showcasing the strength of the writing and the concept behind the piece. Every aspect of language use in this play is meticulously crafted and executed with exceptional skill.

Marjan: The Complex Teacher

Leading the class is Marjan (Marjan Neshat), who grew up in Iran, spent nine years in Manchester, England, and then returned. Her decision to come back puzzles her students, all of whom aspire to leave Iran. When asked about her return, she gestures to Iran’s tumultuous history, stating, “We used to come back in those days” (a haunting echo of Toossi’s “Wish You Were Here,” which explores the challenges of leaving and returning during the Iranian Revolution). Later, she reveals that living in Manchester made her weary of constantly speaking English, translating, and assimilating at the expense of her identity. She poignantly questions, “How long can you live in isolation from yourself?”

Cultural Identity and Conflict

Marjan presents a fascinating case, with her linguistic and cultural identity often clashing with those of her students. She confesses, “I always liked myself better in English,” and enjoys being called Mary, explaining that “small sacrifices,” like anglicizing her name, “can open our world.” Her students challenge her: Elham insists Marjan’s name isn’t difficult to pronounce, while Roya mournfully states, “Our mothers get to name us. Not foreigners.” They accuse her of rejecting her language and culture, suggesting she finds her origins “repulsive.”

Teacher-Student Dynamics

At times, Marjan shows clear favoritism, particularly towards the nearly fluent Omid, and clashes with Elham, who struggles the most. Occasionally, Marjan mirrors the biases of the outside world, echoing trauma she likely experienced as she transitions from gentle coaching to harsh criticism of Elham’s accent, even as her own begins to falter, perpetuating a cycle of self-loathing.

Directorial Mastery

Knud Adams’ direction skillfully embraces the linguistic nuances of the play, keeping the audience focused on the words, their meanings, and the emotions behind each struggle to articulate thoughts. His subtle direction also highlights critical moments of silence: a smoke break outside the classroom, the tense focus during an exam, and the haunting opening and closing image of Marjan gazing through semi-transparent curtains.

Character Portrayals

The cast excels in bringing their characters to life: Ashe’s Elham is fierce and competitive; Tabbal’s Omid is endearing yet overly accommodating; Lalezarzadeh’s Goli is youthful and wise; and Pooya’s Roya is regal and devoted. Neshat’s Marjan is complex, shifting between kindness and strictness, biting criticism and support, self-deprecation and nostalgia. While Neshat delivers a standout performance, Ashe and Pooya shine in their roles, and Lalezarzadeh is a joy to watch.

Set Design and Atmosphere

Marsha Ginsberg’s set features a rotating cube, primarily placing us inside a classroom with two walls removed. A column at the corner slightly obstructs sightlines, perhaps symbolizing a non-linguistic barrier between the audience and the characters, while contributing to the classroom’s necessary claustrophobic tension.

Lighting as a Narrative Tool

The lighting design by Reza Behjat is remarkable. More gestural than naturalistic, yet rooted in the beauty of sunsets and shadows, Behjat’s work captures light as it filters through gauzy curtains, skillfully addressing the design challenge of a set with a ceiling. A large rig in one corner glides upward to mimic the sun’s path, casting enchanting patterns of window panes across the floor.

Poetic Language and Cultural Reflection

Early in the play, Goli expresses her fondness for English, stating, “English does not want to be poetry like Farsi.” Yet, she metaphorically describes English as rice, a versatile staple that can be used to “make whatever you like.” She notes that when cooking rice, it floats on top of the water. The irony is beautifully unspoken: Goli cannot help but infuse her speech with poetry, even in her imperfect English. The brilliance of Toossi’s writing lies in the fact that, despite the dialogue being in English, it feels as though it was originally crafted in Farsi. We witness each character thinking in Farsi, translating their thoughts into English, relying on the idioms, grammar, and syntax, and most poignantly, the poetry of their native language.

The Emotional and Intellectual Impact

The exploration of linguistics, translation, and the challenges of learning a foreign language makes “English” both emotionally resonant and intellectually engaging. Rightfully awarded the Pulitzer Prize for Drama in 2023, it stands as a theatrical masterpiece. Undoubtedly one of the best plays of the decade, it is thought-provoking and deeply moving. This Broadway run will allow even more audiences to enroll in Toossi’s class, reminding us that even for native speakers, there is always more to learn about English—especially its significance for those who must navigate its complexities.