Comedy legends tickle funny bones at mega comic festival in Riyadh

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Comedy legends tickle funny bones at mega comic festival in Riyadh

Comedy legends tickle funny bones at mega comic festival in Riyadh

RIYADH: As the world’s biggest comedy festival keeps cranking up the laugh-o-meter in Riyadh, Arab News went behind the scenes to get an exclusive from some of the biggest names in the industry.

Russell Peters, a Canadian comic known for his cultural and social commentary and spot on impressions, was happy to be back for his fourth performance in the Kingdom — the only comedian with a three-night slot. Peters performed on Thursday and will continue his gigs until Oct. 4  before continuing the Middle East leg of his “Relax World Tour” in Qatar, Kuwait, Oman, and the UAE.

His first performance was in 2016 during his “Almost Famous World Tour” in Riyadh. He later came back to perform at the Muraya Theater in AlUla in 2022, and then later again in Riyadh at Princess Nourah University in 2024.

“Just to see how fast you guys have changed from, for lack of a better term, the old way, to now. It’s pretty impressive. It’s great how you guys managed to do this,” he said.

When it comes to deciding where to throw in which digs, Peters said you have to adapt to your audience.

“Wherever you go … there’ll be references you got to change. You know, just today, when I was taking a shower, I started thinking ‘oh, wait, I can’t really do that here, because you’re not really going to get that.’ So now my brain starts going into overdrive where it’s like, all right, figure out what the connection is between these two and find the common ground and drop it in there. You know, who do they make fun of? They make fun of the Bahrainis…”

Peters also expressed what a significant milestone this festival is for the Kingdom and for correcting many of the misconceptions surrounding it from the outside world.

“The rest of the world has their impression of what is. And if you’ve never been here, you’re going to picture something that’s a very old picture of what this country once was.

“And so it’s really unfair that you get pigeonholed like that. And so … for all these top guys in the game, coming here and seeing it firsthand and completely changing all their minds, because it’s not like you had to convince them, once they got here that it’s not what they thought it was. They immediately see that.”

The Riyadh Comedy Festival has over 50 comedians lined up to take the stage from Sept. 26 through Oct. 9.

“Comedy is like high school,” Peters said.

“And then you have my graduating class — Dave Chapelle, Bill Burr, Louis CK. Then, you got Kevin Hart and those guys in the next grade behind us, Andrew Schulz … it’s just really cool to see the groups of people coming in.”

With every comic constantly learning from their predecessors, this art form is always evolving — one leads to the other, Peter said. No art can exist in solitude.

Peters left us with a fun anecdote about his favorite audience interaction during a performance in Manchester, England, when a viewer threw him his next punchline for free.

“There was a Chinese guy in the audience. And, he was a little heavy, and he said his name was Henry. And I said, ‘What’s your Chinese name?’ And his Chinese name was Chung Ki. And I go, your name is Chung Ki, and you’re chunky. I mean, this is amazing. These are the moments right in your pocket. So, people were like, that had to be set up. I go, no, I wish, they could never set that up. That was so perfect.”

At a time when most of us are glued to our screens waiting urgently for the next tragic news update, praying for our families in Gaza, the West Bank, Syria, Lebanon, and others, comedy can be a sliver of light to keep the hope alive.

“The whole world needs a good laugh, right? The Middle East especially. But, I mean, that’s the thing you want to take their mind off. You want to let them escape for an hour. Will there be mention of it at some point?Possibly, but hopefully you do it in the right way.”

American comedian and “Roastmaster General” Jeff Ross shared similar sentiments on the power of joke-telling.




Russell Peters is the only comedian to get three-night slots.

“Laughter is healing. And I feel like when people laugh together, it makes the world smaller, and I came all the way from New York to make people laugh. I think it makes the world a little bit smaller.”

This is Ross’s first visit to the Kingdom. He first went on stage as the opening act for close friend Gabriel Iglesias “Fluffy” on Wednesday night before taking over for his own show Thursday night, and he has got a few insider tips to prepare.

“I talked to Dave Chappelle this morning. He said that the crowds were superb, and he even told me which bits of mine that I should do that they would love so I feel well prepared, and I love a new adventure, and I love a new audience who’s never seen me before. It gets me super excited.”

And fear not, Saudi fans — the “Roastmaster General” does not plan on holding back on this audience.

“Nobody flies me across the world to go easy. Nobody wants their medicine watered down,” he said.

“I’m like a tiger prancing, prowling the stage, just looking for things.”

And inspiration is everywhere, Ross added. Just driving around the city, he thought how ironic it is that the country is home to the fastest street circuit in Formula 1 (Jeddah Corniche Circuit) yet cars drive unbelievably slow in the heavy traffic every other day.

“Riyadh is like Vegas. But the real gamble here is trying to merge into traffic.”

And on his favorite audience interaction moments so far, Ross said: “It’s kind of like the way Tom Brady talks about Super Bowls, whichever one’s next.”

No stranger to the Saudi stage, Iglesias rocked the nation with his 2013 special “Fluffy visits ” after his first performance in the Kingdom earlier that year.

His approach was to make lighthearted fun of huge cultural differences between and the West. At a time when men and women sat separately and women were expected to be fully covered up, Iglesias turned what could have been an uncomfortable moment into a hilarious set that truly resonated with the Kingdom’s people.

“I think the fact that comedy is so mainstream now, whereas when I first came here, it wasn’t, it was very much a thing where people were trying to understand what is it? How does it work? What is acceptable? What’s not acceptable?

“And I think now it’s evolved to a point where anyone and everyone is welcome to be here and be humorous and just be themselves, which I think is really cool.”

The scale of this moment here in Riyadh and what it means for both the Kingdom and the Middle East is evident to Iglesias, who praised the amount of talent present at “the biggest comedy festival of all time.”

A veteran in the game, Iglesias has his own comic heroes who he takes inspiration from as well — one of whom is Peters.

“The people that … made me want to be part of events and things like this is someone like Russell Peters, who was one of the people that was performing internationally when I first got started. I’d hear stories of him performing around the world, and the first time I got a chance to perform in the Middle East was with Russell. So I credit him a lot for inspiring a lot of comics to want to take that next step and go outside, think outside the box.”

Iglesias also said that there is so much new talent out there to watch out for, doubling and tripling every year, so much so that it is hard to keep up as comedians and the stand up scene continue to grow.


Bad Bunny celebrates Palestinian listeners embracing his music 

Bad Bunny celebrates Palestinian listeners embracing his music 
Updated 03 October 2025

Bad Bunny celebrates Palestinian listeners embracing his music 

Bad Bunny celebrates Palestinian listeners embracing his music 

DUBAI: Puerto Rican star Bad Bunny this week spoke about the global reach of his songs, highlighting how deeply moved he feels by listeners in Palestine embracing his work.

Speaking in an interview with Billboard Arabia, the Grammy-winning artist reflected on the response to his track “DtMF.”

“It’s really beautiful to see so many people from Latin America connecting with that song, people from Palestine connecting with that song, people from all over the world connecting with that song,” he said.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

He explained that the impact extended to his other personal works. “And not only with that one but also with ‘DeVita’ and ‘Dalma Fotos,’ songs where I mention San Juan, songs where I mention places only from here, from Puerto Rico, where I mention my grandfather … Personal songs that people identify with,” he added.

Bad Bunny reflected on what this connection means for him as an artist. “That’s where you see that music is about that, and art in general is about being real, about being honest, and about people being able to identify with what you feel, because through those songs they see that there is no difference between them and me.”

الحمدلله FOR A CEASEFIRE!!! Inshallah I can go again

“DtMF” — short for “Debi Tirar Mas Fotos” (“I should’ve taken more photos”) — went viral in Palestine, with people sharing before-and-after pictures of destruction from the war with Israel.

In the song, Bad Bunny looks back on moments he wishes he had captured, weaving in references to Puerto Rico, his grandfather and local musical styles such as bomba and plena. 

While he dwells on regret, he also emphasizes the importance of cherishing what remains, valuing connections, and honoring one’s roots and memories.


Inside Ithra’s ‘Horizon in Their Hands’ exhibition  

Inside Ithra’s ‘Horizon in Their Hands’ exhibition  
Updated 03 October 2025

Inside Ithra’s ‘Horizon in Their Hands’ exhibition  

Inside Ithra’s ‘Horizon in Their Hands’ exhibition  
  • Overlooked stories of pioneering Arab women come to light in new show 

DHAHRAN: There’s a new exhibition in town. Some of the artists you know, and some you don’t — which is exactly the point. 

The works of more than four dozen pioneering women from across the Arab world are on display — some for the first time ever — in “Horizon in Their Hands: Women Artists from the Arab World (’60s–’80s),” which opened Sept. 18 at the King Abdulaziz Center for World Culture (Ithra) in Dhahran and runs until Feb. 14. The show contains 70 works by artists from 11 countries — , Egypt, Lebanon, Palestine, Morocco, Algeria, Tunisia, Syria, Iraq, the UAE, and Bahrain. 

Fatima Hassan Assiri, ‘Untitled.’ (Courtesy of Jameelah Assiri)

“The idea behind the title was to give back agency to a generation of women who have been overlooked,” the show’s curator, Rémi Homs, tells Arab News. “We also wanted to see this relationship between arts and craft as a horizon for further research. And we wanted to have this idea of hands — something handmade.” 

The exhibition is a collaboration between Ithra and Barjeel, a UAE-based foundation established by Sultan Sooud Al-Qassemi in 2010. Of the 50 artists featured, four are from : Mona Al-Munajjed, Fatima Hassan Assiri, Mounirah Mosly, and Safeya Binzagr, regarded as the mother of Saudi modern art. Both Al-Munajjed and Binzagr are the subjects of an “In Focus” section of the show, along with the late Tunisian artist Safia Farhat, and the Wissa Wassef Art Center in Egypt, which preserves hand-weaving traditions. 

 Mona Al-Munajjed, ‘Dreams Come True in Saudi,’ 2022 - Batik on silk. (Courtesy of the artist)

Al-Munajjed’s works, including “Traditional Saudi Door” and “Minaret of Mosque” — both from the mid-Eighties — weave together personal memory and collective history, capturing intimate domestic scenes and broader social narratives of Jeddah. Using the fiery batik dyeing technique, she blends vibrant colors and subtle textures, creating visual stories that feel both deeply personal and historically resonant. 

Assiri, the mother of renowned artists Ahmed and Jamila Mater, showcases an untitled acrylic-on-wood panel piece — a complex composition that intertwines colors and motifs, employing the feminist-centric traditional Saudi art form, Al-Qatt Al-Asiri — which women historically used to decorate their homes with specific shapes, colors, and markings, and is listed on UNESCO’s Intangible Cultural Heritage of Humanity. 

Nadia Mohamed, ‘Palms and Fields,’ 2021 - Tapestry. (Courtesy of Barjeel Art Foundation Collection, Sharjah)

“The Young Woman,” by Mosly, exemplifies the late artist’s ability to blend portraiture with broader social and cultural themes, while Binzagr’s lithography etchings, intimate and bold, captured the spirit of Saudi life, blending figurative storytelling with a modernist sensibility that continues to resonate. Her 1980 work “Desert Ship,” depicting camels in front of a tent, is particularly striking. 

The show is split into thematic sections, including “Depicting a Rapid Modernization,” “Alternative Pathways: Self-Taught Artists,” “Revisiting Islamic Art Legacies,” “New Media Experimentation,” “Reclaiming Local Craft Practices,” and “Al-Qatt Al-Asiri.” 

Many of the works carry partial or unknown histories. Homs cites a brass piece by Egyptian artist Atyat El-Ahwal (1989), initially listed only by name and date.  

“We basically had no information about her,” he says. “We included her work because we wanted to focus not just on the more well-known names,” he said. Further research — and input from visitors and experts — helped uncover her full name, dates of birth and death (1919–2012), and even a video likely recorded in the 1970s found on YouTube, all allowing her work to be contextualized in a broader history.  

Everyday materials appear in surprising ways — transformed into abstract compositions, for example — and embroidery is reimagined as narrative painting. Henna recurs across many works; Homs highlighted Emirati pioneer Najat Makki, saying: “Henna was an accessible part of everyday life.”  

He praises the artists’ innovative and creative use of available materials. “Something that you cannot see in history books from the West, but it’s something very important and, in my opinion, very groundbreaking,” he says. 

And Homs is hopeful that the exhibition will lead to further revelations of artworks by women in the Arab world. 

“Yes, we are seeing 70 different works by 50 different artists—22 of whom are still alive,” he says. “But it’s the tip of the iceberg. I’d say that we are seeing maybe the first 5 percent of artists we need to discover.” 


REVIEW: ‘Wayward’ — Toni Collette shines in Mae Martin’s Netflix thriller

REVIEW: ‘Wayward’ — Toni Collette shines in Mae Martin’s Netflix thriller
Updated 03 October 2025

REVIEW: ‘Wayward’ — Toni Collette shines in Mae Martin’s Netflix thriller

REVIEW: ‘Wayward’ — Toni Collette shines in Mae Martin’s Netflix thriller

DUBAI: Don’t be misled by the fact that “Wayward” is the creation of Canadian comedian and actor Mae Martin. This is not a comedy, but an eerie thriller set in the early Noughties in a creepily off-kilter, verdant small town in Vermont called Tall Pines — a name whose echoes of David Lynch’s early-Nineties cult classic “Twin Peaks” seems unlikely to be a coincidence.

Martin plays Alex, a cop who has moved from Detroit to Tall Pines with pregnant partner, Laura (Sarah Gadon), who is herself a graduate of the town’s central focus, an academy for “troubled” teens run — and founded — by Evelyn Wade (Toni Collette), an unsettlingly weird woman whose life goal of enabling kids to bypass the intergenerational trauma passed down by their parents involves techniques that are unlikely to be sanctioned by any sane society. But Tall Pines isn’t a sane society, populated as it mainly is by graduates of Tall Pines Academy.

A parallel plotline follows two teenage best friends from Toronto: Laura (Alyvia Alyn Lind) — a wrong-side-of-the-tracks kinda gal who dabbles in drugs and is dealing with the death of her sister, and Abbie (Sydney Topliffe) the more strait-laced of the two, whose friendship with Laura has scared her strict parents enough for them to have her sent to the academy. When she discovers this, Laura sets out to rescue her, but ends up incarcerated too.

The atmosphere of general not-quite-rightness is set up early on — a slight over-eagerness on the part of the natives to welcome Alex; the cult-y décor, hierarchy and activities of the academy; Evelyn’s assumption of a mother’s role with Laura… But Laura seems happy to be back, and, at first, there’s nothing quite concrete enough for Alex to be able to fully justify jumping in the car with Laura and getting out of there. That soon changes. But by then, it’s already too late.

“Wayward” has plenty of faults: The characterization, especially of the teenagers, is often clunky and the plot twists don’t always work — sometimes confusing rather than propelling the story. But the show’s ambition should be lauded — it’s tackling “big” topics in an entertaining, engaging way. And Collette gives a performance that’s compelling, charismatic and repellent all at once, making Evelyn such a great creation (credit to Martin too, for that) that she saves the show from mediocrity.


dzٳ’s brings Safeya Binzagr work to Riyadh for Cultural Investment Conference 

dzٳ’s brings Safeya Binzagr work to Riyadh for Cultural Investment Conference 
Updated 03 October 2025

dzٳ’s brings Safeya Binzagr work to Riyadh for Cultural Investment Conference 

dzٳ’s brings Safeya Binzagr work to Riyadh for Cultural Investment Conference 

RIYADH: At the Kingdom’s inaugural Cultural Investment Conference, which opened in Riyadh on Sept. 29, auction house dzٳ’s presented a rare and significant acquisition from the Arab world: a piece by the late Safeya Binzagr, a seminal figure in the Saudi modern-art scene.  

“Coffee Shop in Madina Road” was painted in 1968, the same year in which Binzagr held her first exhibition with her peer, and fellow art pioneer, Mounirah Mosly in Jeddah.  

“(That exhibition) marked an early, visible moment for women artists in the Kingdom’s modern scene, shaping expectations for subsequent generations,” Alexandra Roy, dzٳ’s head of sale, Modern and Contemporary Middle East, told Arab News.  

Binzagr’s influence stretched well beyond her work. Perhaps even more significant is the eponymous cultural center she opened in Jeddah, which, Roy said, “cemented her role in preserving and presenting Saudi cultural narratives to the public.” 

It also helped bring through a new generation of Saudi women artists. One of the center’s former students, Daniah Alsaleh, told Arab News soon after Binzagr’s death last year: “Safeya was a true pioneer, dedicated to both art and education, and her contributions will continue to inspire many. I am incredibly grateful for the impact she had on my artistic journey.” 

“Safeya also collected traditional costumes and rarely sold or gifted unique painted works and actually stopped selling in the mid-1970s — a stance that placed artistic and cultural preservation above commercial circulation, while intensifying institutional interest and long-term esteem for her oeuvre,” Roy noted. 

That stance also means that Binzagr’s works rarely feature at auction.  

“Works like this are exceptionally scarce — making any appearance on the market a notable event — and very few are in private hands,” Roy said. “It’s from 1968, placing it at the very start of her public career and within the formative phase in which her visual language and cultural preoccupations were taking shape. 

“Seen against the backdrop of her later museum recognition, the work speaks to an artist whose practice is now preserved institutionally,” she continued. “So this early example carries both historical and documentary weight in the narrative of Saudi modern art.” 


Recipes for success: Chef Mevish Appadoo offers advice and a tasty Greek salad recipe 

Recipes for success: Chef Mevish Appadoo offers advice and a tasty Greek salad recipe 
Updated 03 October 2025

Recipes for success: Chef Mevish Appadoo offers advice and a tasty Greek salad recipe 

Recipes for success: Chef Mevish Appadoo offers advice and a tasty Greek salad recipe 

DUBAI: Long before he led professional kitchens or perfected complex stocks, Mevish Appadoo, now head chef at Twine — a Mediterranean restaurant in Dubai — was just a teenager in Mauritius captivated by the aromas coming from his grandfather’s stove.  

“I was always telling my parents and my grandmother, ‘One day I will cook like Grandpa,’” Appadoo told Arab News. “This stayed in my head.” 

At 17, after dropping out of school, he made the leap into the culinary world. What began as a boy’s dream quickly turned into a career path marked by discipline, patience and an enduring passion for process. Now aged 32, with years of experience behind him, including time spent as a ramen chef, he has developed a leadership style shaped by old-school mentorship and modern sensibilities.  

Mevish Appadoo is the head chef at Twine. (Supplied)

When you started out, what was the most common mistake you made? 

You know, in the kitchen, we always need to wash our hands, but I wasn’t drying my hands properly before seasoning. I’d get shouted at a lot by the chef. When your hands are wet, the seasoning gets stuck to your fingers, so you don’t have control (over it). 

What’s your top tip for amateur chefs?  

You need to have patience. You can’t just cook very fast. The food will never be good if you don’t give it the time it’s supposed to take to cook. Anyone can cook pasta in five minutes, but it’s not going to be the same as pasta that takes 15 minutes. 

What one ingredient can instantly improve any dish? 

Salt. It’s so important, and there are lots of people who don’t know when or how to use it. If it’s a stock or soup, you can put the salt in at the last minute. But if you’re cooking a meat dish, you need the salt at the beginning to help it penetrate the meat and make it more flavorful. 

When you go out to eat, do you find yourself critiquing the food? 

To be honest, I did that when I first started as a chef, because I thought I knew more than everyone. But over time, especially when I became a sous-chef at that level, I stopped doing it. Now what I do is I go, eat, pay my bill, and if I have any complaints, or even compliments, I try to go directly to the chef. I never go to the manager or the waiter because I don’t want it to look like a complaint. I just go to the chef and tell him, “I liked this.” Or “Maybe you should try this.” Things like that. 

What’s the most common issue you find in other restaurants? 

I would say it starts with the service. If they don’t treat you well at the beginning, it affects everything. If they take 15 minutes to bring you the menu, or they don’t smile, or you order still water and they bring sparkling, your mood starts to drop. That’s how guests start to complain. Sometimes, even if you give them good food, everything that happened before has already spoiled the experience. 

What’s your favorite cuisine or dish to eat? 

I’m not a fan of big restaurants or big culinary spaces, even though that’s where I work. I prefer to eat in small cafeterias. My favorite dish in Dubai is omelet, paratha with cheese, and Oman chips. I could eat that every day. 

Twine is a Mediterranean restaurant in Dubai. (Supplied)

What’s your go-to dish to cook quickly at home? 

I always prefer simple food. So, noodles — but Mauritian noodles. They’re very different. They’re kind of like ramen, but everything is different, the stock, the noodles themselves, and the garnish.  

What’s your favorite dish to cook? 

At work, I love to make stocks — chicken stock, beef stock… — to use as a base for sauces. It requires a lot of steps. If I’m at home, I love to cook biryani. That also requires many steps. Everything that has stages excites me… there’s something about following that process. The steps are what make it pleasurable to cook. 

What’s the most difficult dish for you to get right? 

Before, I was a chef at a Japanese restaurant where we made ramen. It was very challenging to get the taste of the soup right. Ramen broth has to cook for six to eight hours. You can’t miss a step. You can’t put it on a high flame, it needs to be controlled very, very delicately. When people eat ramen, they think it’s about the meat or the egg or the noodle. No, it’s about the soup. The soup is what makes it what it should be. 

As a head chef, what are you like? 

I would say I’m a mix of generations. Because I started very young, I never trained with people my age; all the chefs who trained me were old — in their sixties. I don’t know how to describe them, but they really made me strong. Without them, I wouldn’t be the person I am today. So many people tell me, “You’re very young. How can you do this? How can you do that?” I hope (those chefs) can hear me when I say this is all because of them. Now I try to bring that experience to the new generation and adapt how I guide them, because they are not like the generation before. You can’t just shout at them. They understand things differently now. 

Chef Mevish’s Greek watermelon and feta salad with honey zaatar dressing  

Chef Mevish’s Greek watermelon and feta salad with honey zaatar dressing. (Supplied)

Ingredients for 1 portion: 

Salad 

25g Watermelon  

25g feta  

10g roasted almonds 

15g cucumber 

5g kalamata olives 

Fresh herb salad 

2g mint leaves 

2g zaatar 

2g dill leaves 

2g parsley 

2g rucola 

Dressing 

6ml olive oil 

2ml lemon juice 

4ml honey 

3g chopped fresh zaatar 

Salt and pepper for tasting 

Directions: 

Cut the watermelon and feta into cubes. 

Roast the almonds and slice. 

Shave the cucumber and form it into rolls. 

Dehydrate the kalamata olives in a food dehydrator or oven at 50-60°C for one hour. 

Once the kalamata olives are dehydrated, blend them into a powder using a blender. 

In a separate bowl, prepare the honey zaatar dressing by combining olive oil, lemon juice, honey, chopped fresh zaatar and salt and pepper to taste. 

Then make the Fresh Herb Salad by mixing mint leaves, zaatar, dill leaves, parsley and rucola, then add a little bit of the dressing.