MY NAME IS.... at the TRON GLASAGOW

I remember the time when this story broke out in the press as this blurb explains "A captivating new play about love, family and shifting identities.
My Name is… tells the story behind a story that fleetingly hit headlines in 2006 and continues to resonate throughout the UK and beyond.
When 12-year old Gaby disappeared from her home in Scotland, the media announced that her Pakistani father, Farhan, had kidnapped her. The spiraling headlines were only momentarily silenced when it emerged that Gaby may have fled of her own accord, choosing to spend her life in Pakistan. To her Scottish mother Suzy's great distress, Gaby declared, 'my name is Ghazala' and turned her back on 'Gaby' and seemingly the West...
This moving verbatim play reveals a unique Scottish love story that began in early 80s Glasgow, a world away from the frantic ‘tug of love’ well documented in the world's press.
Tamasha is an award-winning theatre company. Successes like East is East, The Trouble with Asian Men and Snookered have won acclaim from audiences and critics alike."

The play was an intense experience in which sympathy and empathy and a compassion for the human side of all the characters comes out , this website of the play production company also contains an introductory video of the play.

In this video in which the cast members discuss the play we come ( especially at the 2mins-14 sec mark) to the original story and the guilt they feel over the casual assumptions that were automatically engendered which assumed the only reason someone could have of leaving the West for the East would be abduction or kidnap.
 

This review captures the dramatic emotional experiences that are felt by the audience throughout this genuine tragedy. 

 "Told in present day and flashback,it is Farhan and Suzy’s relationship which is the central core of the play. The first tentative courtship of a gauche ‘Gori’ teenager and her early twenties Asian boyfriend is charming, and cringingly recognisable­ sweet-­talking, bad dancing to the Bee Gees at a local Pollokshields disco and endless promises of domestic idyll, until the chasms between the cultures, often facilitated by Farhan’s conservative in­-laws, deepen. Suzy refuses to wear the veil upon her conversion, and Farhan divorces her on the grounds of apostasy, accusing her of being an unfit mother."

It has to be said if any blame is to be attached to any of the characters then it is to the Father who was the only adult in this drama and who opportunistically took advantage of the situation of taking liberties when it suited his desires and then turning dogmatically conservative when that side suited his needs.

The video below contains an in-depth interview with Arun Ghosh music and sound production