by Charlsie-Kern Kruger

“Let The Wind Sweep Through: The Conference of Birds” is based on a classical medieval poem by Sufi mystic Attar of Nishapur. The poem could be described as a timeless parable of the Search for Truth. The premise is that all the Birds of the world gather together to seek a King to lead them. But to accomplish this they must set out on a journey through a series of valleys, named after various existential concerns. These are the Valleys of the Quest, of Love, of Knowledge, of Detachment, of Unity, of Wonderment, and, finally, of Poverty and Annihilation. Nobody could accuse the poet, Attar, of lacking ambition. The content can be beautiful, yet obscure. Both touching and confusing, sometimes sad and sometimes comical. It seems as though the birds, like we humans, are on a quest for meaning.

The birds’ quest for meaning has inspired many artists of various sorts. There are classic Persian paintings inspired by the Conference. There are numerous musical explorations. Peter Brook created a famous theatrical interpretation. Translator Sholeh Wolpé’s recent version was adapted into a play.

For the present production, which is more an inspired variation than a close translation, Melusina Gomez offers an interpretation of Sufi mysticism melded with Aztec imagery inspired by the legendary heartland of the Aztec empire, Anahuac, “the place beside the waters.”

Gomez’s brilliant creation is described as a “transformational ritual theatre experience,” so it is clear that her vision for this piece, like Attar of Nishapur’s, is quite large. When a producer bills a play as a “transformational ritual theatre experience,” the audience (and a critic) can reasonably expect something extraordinary. And that’s what we get.

The production encompasses puppetry, aerial performance on scarves and rings, masks, dance, puppetry, and a haunting Persian-inspired score on authentic instruments. It is transcendent.

The blend of Aztec-inspired visuals, Sufi-inspired mysticism, and classical Persian instrumentation is out of this world.

Don’t look for story. This is a ritual, not an entertainment. There is a story, but it is implied, streamlined, and structural, rather like a Catholic Mass or other religious service. Think of it as a series of meditative symbols on the various valleys of meaning we encounter in life, and the takeaway is a communal encounter with the holy, not a plot that can be retold. The message? Together, with sensitivity and love, we can survive the valleys to which we are subjected in life, and experience the peaks.

As the audience enters the theater, we are ushered along a corridor of performers in white, with masks suggesting birds. They are not yet fully birdlike, but they speak softly and touch us gently with feathers. There is incense burning. Candles are lit. The energy is ceremonial.

The ritual begins with invocation and prayer.

What follows is a joyful yet somber ensemble performance. Like a flock of birds, no one performer stands out, yet each is in flight. The flights include circus aerial performance that is closer to ballet than gymnastics. There is dance and rhythmic drumming. There are flutes and stringed instruments. There is direct commentary to the audience, who participate both spontaneously and by invitation. Many whistle and hoot and flap their arms in concert with the birds. It feels right. There is a great deal more awe than laughter, although there is a quiet humor that pervades everything and is most welcome.

If the purpose of this experimental work is to invoke the Spirit of Hope and Community, it succeeds without equivocation. This is not entertainment, but Church. It is holy. It feels sacred. It feels right.

Back in the tumultuous decades of the 60’s and 70’s, many artists explored ritual theatre. It seemed necessary then, and it seems necessary now, as we deal with the horrors of encroaching fascism, as we try to move through our own Valley of Annihilation, struggling to fly from the depths of despair to the heights of enlightenment.

We should all be grateful to Moon Rope Ritual Theatre, Haven Healing Arts, and Marin Shakespeare Company for stepping up to deliver much-needed medicine for the time.

More, please.

“Let The Wind Sweep Through: The Conference of Birds” continues at Marin Shakespeare Company through February 15, 2026. For further information click here.
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Rating: **** (For an explanation of TheatreStorm’s rating system, click here.)
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