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L'Orient-Le Jour
21-07-2025
- Entertainment
- L'Orient-Le Jour
Carole Samaha: I wanted a project as ambitious as my work with the Rahbani family
She has been the most discussed figure in the national entertainment scene's inner circles in recent months. A prolific interpreter of both sugary pop and passionate patriotic anthems, and an actress with a delicate filmography, Carole Samaha has made her mark with the momentum of a new millennium under the guidance of one of the founders of modern musical theater in Lebanon. The feminine embodiment of Mansour Rahbani's final elegant fantasies, the actress — one of the few divas in the variety scene to successfully merge a popular repertoire with the image of a poised artist — now, at 53, embarks on a long dreamed-of, ardently desired journey toward lightness. Alongside her concerts and recording sessions, Samaha, known for her often firm stances on pan-Arab societal changes, has also devotedly cared for her husband, who battled cancer for nearly a decade (and passed away just days before her widely discussed comeback), and watched over her young daughter who remains in Egypt, where Samaha spends most of the year. Discreet about her feelings and grief, Samaha returns to the stage this scorching July as part of the prestigious Beiteddine Festival, with "Kello Masmuh" ("Anything Goes"), an ambitious adaptation of a Broadway show by Roy al-Khoury, who two years ago also helmed the Arabic version of Chicago. Samaha answers L'Orient-Le Jour's questions. The general public first discovered you on Mansour Rahbani's stage a quarter of a century ago. Today, you're reconnecting with your first love, more than 15 years since your last musical. Why now? I've wanted to return to the stage like this for quite some time. After all these years away, I wanted this comeback to be both innovative and different from what I've previously done. The public has a rather serious idea of me, probably because I've often played intense roles throughout my career. Roy introduced me to "Anything Goes," a comedy with vaudeville elements, full of lightness — precisely what I needed right now. When I met fans or people in the industry, they often told me I was missed and that I should return. But I kept saying I couldn't find a project ambitious enough since my collaborations with the Rahbani family. My return had to be demanding, worthy of the expectations. I was impressed by Roy and Nayla's [the producer's] vision, and that's how a trusting partnership began. This project was unfortunately postponed several times due to instability in the region, particularly the war that hit Lebanon in the fall of 2024. How did you get through that period? Like all my compatriots, I lived through those months anxiously — maybe even more so, given my rather complex personal situation. At the September 2024 press conference, I was very worried about my family's well-being. I was juggling rehearsals in Beirut for the show with trips back and forth to Egypt to be with my family. This year, as everyone now knows, was especially tough for me, as if all burdens were loaded on my shoulders. To make matters worse, I had just released an album barely a week before the war in our country escalated. During war, artists' work is, of course, put on hold — and believe me, there's nothing fun or restful about that. Talking about those frustrations, which unfortunately, too many of Lebanon's cultural figures endure, how did you manage to stay apolitical despite the anger caused by the situation? Over time, you learn, with difficulty, to channel that anger you mentioned into something more constructive than simply sharing your emotions online. If all this had happened 10 years ago, I probably would have sunk into a kind of despair. Today, I believe that age and experience can help ease the pain and wounds, showing that getting angry only hurts oneself. I wrote and composed a lot in the fall, and that helped me. Because I refuse to stop creating, to stop reinventing myself and fighting. Your husband passed away just a few days before the big opening of the show, barely more than two months ago. Did you ever consider, even for a moment, stopping everything? Postponing a second time, after all we'd gone through as a team, just wasn't an option. That would have meant outright cancellation. I am someone who keeps her promises and commitments. Most importantly, I don't carry this project alone: Behind me are dozens of people — producers, dancers, musicians — who have poured their hearts and souls into it. Cancelling would have been a massive blow to everyone's energy, motivation and finances. You experienced a similar loss and dilemma — whether or not to take the stage — after your father's death. I lost my father in 1996, just three days before a show's opening. At the time, I didn't tell anyone except maybe two actors in my troupe. I was not yet famous, no one really knew me, so naturally, the news didn't make headlines like it did recently. That's how I handle things: I ask myself if stopping would help me get through hard times. My body can't bear pain forever. I allow myself to cry, to let it all out, as long as I make myself a promise to rebuild quickly afterward. On a lighter note, regarding 'Anything Goes,' a show revived many times in the US, you said you've never watched previous adaptations. Was that to avoid being influenced by an acting style that's not your own? That's how I've continuously operated. When I know another artist has already performed a role, I do everything I can to avoid watching or analyzing those performances, so I don't unconsciously compare myself to them. It's not about pride or vanity; it's the certainty that each actor must deliver something unique. I can't — and don't want to — copy another actress. I want to share my vision of the character. And I think that's what the public deserves. When your fame crosses borders and you're making an anticipated comeback, does the pressure to do well spoil the joy of being back on stage? To be completely honest, I'm more afraid of reappearing on TV than on stage. That scares me more because I'm not in a position to control everything: post-production, editing, cuts — your image and work are ultimately out of your hands. In the theater, the actor is more responsible for successes or failures. Once the lights come up, you're no longer dependent on others. Your last TV appearance was as Sabah in the biographical series ' Al-Shahroura. ' Did that make you want the distance you mentioned? One thing's for sure: I won't take on more biopics. I was brave enough to take on this role, especially since I missed acting a lot and wanted a challenge. I did it, but it doesn't mean I'll do it again. Today, I'm fully focused on my music and upcoming performances... ...which will be at Beiteddine. How does it feel to be there for the first time after last year's obstacles? This festival is a powerful symbol, an internationally renowned event that embodies the bravest parts of our nation. Over time, it's proven itself: Only the best of the best perform at its legendary palace; its programming and organization have preserved the event's authenticity and splendor. I can't wait to join the orchestra and audience. Be many! After five performances at Casino du Liban in May 2025, the musical 'Anything Goes' ('Kello Masmuh') will be staged on Wednesday, July 23 and Thursday, July 24, as part of the Beiteddine Festival. Tickets are on sale at
Identity
28-05-2025
- Entertainment
- Identity
Hyde Park Developments Supports the Arts, Music, and the Revival of Egypt's Cultural and Artistic Heritage Two Concerts to Celebrate the Legacy of Dalida
Cairo – May 28, 2025 Reaffirming its leading role in supporting culture, music, and the preservation of heritage, Hyde Park Developments is sponsoring two tribute concerts honoring the iconic international artist Dalida, under the title 'Bent Shoubra'. The concerts will take place on 30 and 31 May 2025 at the Mövenpick Theatre in Media Production City, reflecting the company's continued commitment to delivering refined cultural and musical experiences that enhance the lifestyle offerings within its communities. The two-night event will celebrate Dalida's illustrious career, showcasing her most beloved hits spanning over three decades of musical brilliance. Directed by Mirva Kadi, a Lebanese-French artist known for her standout performances at major venues such as the Beiteddine Festival and Casino du Liban, the concerts will also feature a special appearance by Egyptian singer Heidi Moussa, a classically trained vocalist from a musical family who honed her talent under Maestro Selim Sahab at the Cairo Opera House.
