Toronto Fringe Review: Alia Ceniza Rasul: Moro Girl
Alia Ceniza Rasul has one goal, she states at the top of the show, for the audience to walk away knowing what the word Moro means. Throughout the show, however, she reminds us that she’s a “terrible token”, and for us not to take her experience as emblematic of all Moro people. Indeed, this show is not just a fact-based introduction to the culture and history, but a primer on both through Rasul’s lens.
Rasul’s storytelling about her personal history plays a major role, but the show also incorporates her family’s history; the etymology of her name; and a brief (but sobering) overview of the impact of colonial violence on the Moro.
Rasul is a delight to watch. I was smiling, if not laughing, for most of the show. She strikes a difficult balance between telling hilarious stories about her and her family and letting us sit in uncomfortable truths.
Toward the end of the show Rasul quips she doesn’t want to be too vulnerable. I can appreciate the desire for this, especially considering her desire to keep the show light. I noticed a few moments when Rasul approaches vulnerability, only to circle around it.
This isn’t to say that Rasul must bare her soul to us, but I feel like this results in a somewhat fragmented show. On the other hand, it’s possible that this is intentional. Indeed, the process of identity formation – especially as a diasporic person – can be messy and incomplete.
It should be noted that I watched a preview of this run, in addition to it being a Relaxed Performance. The crew were still working out some technical cues, and Rasul mentioned not getting to all her material. This is to say a later performance will likely feel more complete than what I saw.
Alia Ceniza Rasul: Moro Girl is on now until July 17 as part of the 2022 Toronto Fringe Festival. All performances in this run are Relaxed Performances.
Find show times and tickets here.
There’s no shortage of truly hysterical stories throughout this special.