Tag Archives: Samia Rida: Kidnap

‘Samia Rida: Kidnap’ (Venue 24, until AUG 10th)

Posted in *EdFestivals 2025, 5*, Rated: Outstanding, Theatre by

“A deeply personal piece of storytelling, a superb storyteller, and a story that deserves to be heard and heard again.”

Editorial Rating: 5 Stars (Outstanding)

Samia Rida is possibly, probably, almost certainly the most important voice you’ll hear this EdFringe. The youngest of four siblings, it became obvious early on that Samia had a knack for caring for her seriously disabled aulder brother. From a very early age, Samia was taking charge at bath and bedtime and all the rest. Like so many unseen little ones, Samia’s own childhood was profoundly impacted by the needs of another. Caring is really hard. It’s relentless. The other person’s needs are always the priority, catered to day and night, rain or shine, under the unforgiving, uncomprehending, and too often unsympathetic gaze of folks without a Scooby Doo of the daily reality as it is really lived.

To add complexity to chaos, Samia is the unquietly proud possessor of a lifelong identity crisis brought on by the clashing of parental cultures. With a Welsh mother and a Saudi father, Samia has skin in the game when it comes to the big questions of multiculturalism as it is lived from within rather than judged from without.

The former River City actress takes to the stage like a hurricane takes to a shanty town. Here is an uncompromising, deeply personal perspective which blows away the preconceptions and peculiarities of today’s mainstream focus on the actualisation of individuality as the summit of human achievement. The story centres on the messy separation of Samia’s parents, in particular her being kidnapped to Saudi Arabia by her father – a chain of events which received quite the flurry of press attention back in the day.

Having felt alienated in West London, Samia tells of being entirely all at sea in the gilded luxury of the much more traditional society. Again, Samia is uncompromising with her truth, but speaks fondly of the hosts of uncles, aunts, staff and retainers who populated this strange chapter in her life. The three most definitely not GIPers spookily assessing the show’s political messaging for Riyadh seem content with Samia’s largely positive picture of well-to-do family life in The Kingdom. The hacksaws won’t be needed tonight.

Here is a great wee EdFringe find. A deeply personal piece of storytelling, a superb storyteller, and a story that deserves to be heard and heard again. The message is one that will resonate with anyone who has put (or is putting) their life on hold for another, anyone who has been caught up in the breakdown of their parents’ relationship, anyone with a taste for the potent and profound. Here is a unique voice telling truths that are not heard nearly enough. Come for the all-too-human drama, stay for the belly laughs, get your leak and dragon patterned bishts on and go see this!

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EdFringe Talk: Samia Rida: Kidnap

Posted in *EdFestivals 2025, *Written Interviews by

“I have always wanted to experience Edinburgh Festival but due to caring duties I’ve not felt able to come until now and to come with my show and with Gilded Balloon is a dream come true.”

WHO: Samia Rida

WHAT: “Samia Rida’s one-woman show is a comedy/drama based on the true story of her kidnap to Saudi as a child. It explores multiculturalism, disability, Saudi, mental health and how kidnap can involve a swimming pool. Supported by the charity Sibs. Supported by the BBC Comedy Collective and Funny Women. It’s been on at Riverside Studios, The Tabard, The Museum of Comedy and the White Bear. Optioned for TV adaptation by Fulwell 73. Directed by Gareth Edwards – BBC producer (That Mitchell and Webb Look, Upstart Crow and Spaced). Producer Gina Lyons – A BAFTA Elevate producer.”

WHERE: Dram at Gilded Balloon Patter House (Venue 24) 

WHEN: 19:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It is my first time. I lived in Glasgow for a time when I was in River City and I loved it there. Ever since being there I have had a real love for Scotland generally. I have always wanted to experience Edinburgh Festival but due to caring duties I’ve not felt able to come until now and to come with my show and with Gilded Balloon is a dream come true. I can’t wait to enjoy the city, the shows and performing.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

2024 has been a real ride. I’ve been performing my shows at various venues in London and to do a one-woman show is very exposing – there’s nowhere to hide and it’s a lesson in resilience. I also feel it is very much about my relationship with the audience and theirs with me and that changes with every audience so I’m exploring how to be open and flexible and not resist different energies on different nights. It’s also been a tough year. I’ve had a big loss in my life and that has turned my life upside down. I’m still learning what there is to take from that but so far it is to be here now, don’t compare, let go of how you thought things would be and don’t take your value from external things. I know those are appalling cliches but when you really feel them and feel able to live them to some extent it’s different. I’ve also learnt that the best way to bond with my daughter is to watch Love Island together and debrief after. It’s a joy!

Tell us about your show.

My show is called Kidnap. It is based on the true story of my kidnap to Saudi as a child. It’s a comedy.

Don’t worry it was my dad who kidnapped me and he is from there, he didn’t just throw a dart at a globe when deciding where to kidnap me to.

It is a dark, challenging and funny exploration of multiculturalism, domestic abuse, having a disabled sibling, Saudi and how kidnap can involve a swimming pool.

It’s directed by Gareth Edwards (Spaced, That Mitchell & Webb Look) – I’ve known Gareth for a long time. I made a pilot on 2K which I feel was Fleabag before it’s time and I took it to Gareth who was at the BBC then and he put it forward to be commissioned. Spoiler – it wasn’t. But he continued to develop ideas with me and support me, he also got me doing stand up, so I asked him if he’d direct my show and was thrilled when he said he would.

It’s produced by Gina Lyons (In My Skin, Dreaming Whilst Black) who is doing so much to support women in comedy and make it a space where opportunities are available to everyone. I met her as the script for my show got down to the 21 interviewed of 1,300 applications to the BBC Comedy Collective Bursary and they continued to support me and introduced me to Gina.

Before Edinburgh it was on in various theatres around London such as The Tabard and The Museum of Comedy.

What should your audience see at the festivals after they’ve seen your show?

I don’t know anyone going to Edinburgh, but I would recommend seeing Alison Spittle, 1-MAN NO- SHOW, 100% Funny Feckers Comedy, Alice Tovey: Glass Houses, Drunk Women Solving Crime. I think you should see Alison Spittle because I heard Julie Jay say she’d heard fab things about her show. I’m also going to see it in London before I come to Edinburgh. I used to open mic somewhere where Funny Feckers Wes Dalton was MC and always found him warm and good fun. Alice Tovey’s show Glass Houses I think will be interesting as about a loved one going to prison and I’ve had some exposure to that experience through some people I know. I really enjoy stand up which tackles more complex themes and this show sounds like it does this. 1-MAN NO-SHOW just sounded very out of the box to me and I think that is what Edinburgh is about so that’s why I think it’s good to see it.. Seeing things you wouldn’t perhaps normally and also going into a room and not knowing what is going to happen is so exciting. I often think the bit before the show starts is a real sweet spot. You’re full of anticipation and excitement and curiosity and that’s a great feeling. You’re also not allowed to look at your phone which is a real bonus! Lastly, I think you should see Drunk Women Solving Crime because the podcast is great and it’s a great concept so I’m sure will translate well to stage.

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