TW: This play deals with themes of genocide and war.
Sanita Fejzić’s play Blissful State of Surrender tells the story of a Bosnian immigrant family. This darkly funny story, played earlier this month at the Great Canadian Theatre Company (GCTC), shines a light on the generational struggles between traditional parents and their three adult daughters.
Blissful not only opens your eyes to the hardships and intricacies of life as a Bosnian refugee but also proves relatable to any audience member that has a loud, passionate and somewhat dysfunctional family.
Fejzić, a Muslim Bosnian-Canadian, wrote and produced Blissful as a dedication to her grandmother, a victim of the Bosnian genocide.
“The play attempts to translate things that cannot be spoken—to show the ghosts that haunt every survivor of the 1992–1995 Balkan War and genocide of my Muslim Bosniak people,” Fejzić said in her playwright’s note.
Bronwyn Steinberg is the director of Blissful and former artistic director at the GCTC. She described the play in her director’s note as showcasing “a family with trauma from the past and secrets in the present, but through it all, they have resilience built on their love.”
With three grown daughters comes three alternate lifestyles choices, some of which their traditional parents are not overly thrilled with. Family secrets slowly begin to unfold throughout the play, revealing the pain hidden in their past and how this pain is affecting their present lives.
The heart of the family and play is Suzana, a dramatic and prejudiced mother, played to perfection by Ottawa actress Zvjezdana Užarević.
Her powerful performance is mirrored by John Koensgen, who plays the family’s patriarch Emir. Koensgen somehow manages to be the main comic relief while simultaneously being the most emotionally troubled character, both of which are highlighted in his layered performance.
The play’s overall theme of combining Canadian and Bosnian culture is reflected in its detailed costumes, designed by Vanessa Imeson. Traditional Bosnian folkware was on display in the lobby before the show, alongside Imeson’s sketches of the characters’ costumes. Small details, such as traditional patterns and colours, came through in the form of a character’s apron or T-shirt—a subtle nod to their Bosnian heritage.
The set also included modern and traditional elements in its furnishings, such as the patterned interior carpet or exterior, exposed rubble designed to resemble the war-torn capital of Sarajevo from which the family fled.
The show’s climax at the end, when the family revealed its deeply buried secret, leads to a point of reconciliation and connection for the performers and audience. This deeply intense and emotional moment is followed by a much needed moment of humour and reprise for the audience. The family then launches back into their bickering ways, providing a full-circle ending and a relatable moment for those in the audience with similarly fiery family dynamics.
Overall, the show included several details that highlighted the playwright’s connection to her heritage and national history. Blissful succeeds in educating the audience on Bosnian culture in meaningful and stylized ways throughout the show, from the costumes to the music to the occasional use of Bosnian language.
Although some of the supporting performances were lacking in believability and a stronger ensemble cast would have benefitted the emotional depth of the script, Blissful is still a well-rounded production with many redeemable moments. More importantly, it educates its audience on the complexities of Bosnian refugee culture.
Featured image by Andrew Alexander.
