1. Roi, you’ve built a legacy of adapting global musicals to the Arab stage. What made Anything Goes Arabia such a defining moment in that journey?
Anything Goes Arabia wasn’t just a musical—it was a statement. It came at a time when Lebanon was hurting, and we were ready to bring joy back to the stage. It was a time to push the envelope this far, merging Broadway spectacle with unapologetically Arab flair. I finally felt that the region was not just ready—but hungry—for this kind of theatre.
2. Carole Samaha’s courage and commitment, performing just days after her husband’s passing, was deeply moving. How did her strength influence the spirit of the production?
Carole’s resilience set the tone for everyone. She chose to perform not in spite of her grief but because of it. That strength fueled us all. It reminded us why we do theatre in the first place—to connect, to heal, to transform pain into beauty. Her presence was a masterclass in courage.
3. What conversations went into the delicate decision to postpone the premiere, and how did the team rally together to return with such power and grace?
The decision was collective and human. We didn’t debate it—we felt it. We wanted to honor Carole’s space while making sure the show returned with dignity. The team didn’t just “rally”—they poured even more of their hearts into the show. The opening two days later wasn’t a comeback. It was a standing ovation to her spirit.
4. With iconic figures like Majida El Roumi and Elissa attending the show, what did that kind of high-profile support mean to you and the cast?
It was surreal! seeing them in the audience, smiling, clapping, moved—it validated everything we’ve worked toward. Their presence reminded the cast that this was more than a show—it was a cultural milestone.
5. You’re bringing the show to the Beiteddine Festival on July 23–24—how does that prestigious cultural setting enhance the storytelling and impact of Anything Goes Arabia?
Beiteddine is sacred ground for performance in Lebanon. To bring a musical there is a dream. The architecture, the history, the energy—it all becomes part of the story. Anything Goes Arabia under the stars? It’s going to be electric. And well, after performing Chicago arabia there in 2023, we’ve been featured on the front page of the New York Times!
6. You’ve always walked the fine line between preserving the soul of a classic and localizing it. How did you manage that balance in Anything Goes Arabia?
I start with respect—for the source material, and for our culture. Then I find the shared DNA. Humor, love, power dynamics—they’re universal. The localization came naturally because I wasn’t “translating”—I was reimagining. With Cole Porter’s cheeky spirit and our Arab theatrical traditions, the fusion was seamless.
7. From One Night on Broadway to Chicago Arabia, each production has had a distinct tone. What makes Chicago Arabia stand out in your journey as a director?
Chicago Arabia was the moment the world looked in our direction. When The New York Times covered it, it felt like we finally screamed loud enough to be heard. It was bold, edgy, unapologetic—and it proved that Arabic musicals could go global without compromise.
8. Your collaboration with Carole Samaha in this musical has touched audiences deeply. Could this be the beginning of a long-term partnership in musical theatre?
I truly hope so. Carole is more than a star—she’s a powerhouse of discipline, creativity, and vulnerability. We’ve built something special together, and I think there’s more magic ahead. We already speak the same theatrical language.
9. You studied at NYFA and ALBA, and worked with Broadway experts—how do those international roots manifest in your direction and your training of Arab talents?
I carry Broadway in my bones. From the work ethic to the rehearsal room dynamics to the staging techniques—it’s all in how I train my cast and run my productions. But I also carry Lebanon in my soul. It’s this fusion that defines how I approach art.
10. What were some of the biggest artistic or logistical challenges with this particular production, and how did your team overcome them?
Logistically? War. Literally. We were two weeks from opening when we had to freeze everything. Artistically? Being a triple threat, Tap dancing, Broadway jazz dancing and in Arabic isn’t exactly tradition. But we leaned in. My team? They’re warriors. Everyone treated the stage like home and the show like family.
11. The attention to detail—from staging to musical arrangement to costuming—was remarkable. What were the most important elements you insisted on localizing?
Language, humor, and fashion. We Arabized the lyrics while keeping the sass. We injected punchlines only we would get. And the costumes? With our stylist Lauren, and A mix of Jean Louis Sabaji glam and Bassem Feghali fun and Sossi’s and Rachel’s input and professionalism . It had to feel ours—not borrowed.
12. As someone who created platforms like STEPS, how do you see the next generation of Arab musical theatre talent evolving under your mentorship?
They’re hungry, they’re bold, and they’re not afraid to blend tradition with razzle-dazzle. STEPS was built to give them tools I never had growing up. Now I see kids tap-dancing, belting in mixed styles, dreaming bigger than ever. That’s the real legacy.
13. With your rising momentum, can we expect future Arab adaptations of legendary shows like Phantom of the Opera or Mamma Mia? And exclusively for The Business Journal Media Group—what is your bigger vision for bringing global musical theatre to the Arab world, both artistically and commercially?
Yes—and more. Phantom, Mamma Mia, cabaret—they’re all on my dream board. But my vision is larger than adaptations. I want to create original Arab musicals that can tour globally. Commercially, I believe musical theatre is the untapped goldmine of Arab entertainment. And artistically—it’s the language I use to tell the world who we are.
