Set back in the late-Ottoman Empire period of Istanbul; then still a naturally elegant and a pre-industrial-age purity-preserved backdrop to the story, Kanli Nigar storms the stage with an assemblage of the period's folk culture and street performance acts. In more of a referential stance and a guiding light to the Turkish Cultural heritage, the play is centralized around the infamous Kanli Nigar, a lady of one too many social (!?) skills and a matching number of enemies who are lined up in the 'hood' to take revenge.

Having survived a very traumatic life, Nigar grows up to demand the power that the society once took away from her along with her innocence. Her house of frequently "visited" young scrumptious ladies join her in executing her master plan, taking ruthlessness off of the streets, one man at a time.

Nigar, the girls and the nanny have crafted the terms of hospitality into extreme measures, briefly upon teasing with enchanting dances, girls would proceed to deliberate toxication, seduction, pickpocketing, pretty much sucking the life out of the horned up guys before they find themselves on the street with no "score" whatsoever.

The comedy unfolds when she coincides a supposedly religious but steadily unethical public figure, rents his house with a concealed identity, and begins to resolve a number of twists and turns of the men from her past. For clarification purposes, the adjective in front of Nigar's name, Kanli, means "Bloody" in Turkish.

Audiences wanted to go figure how bloody things can get and yet laugh out loud in every moment of it.

A Play Synopsis by Onur Selcuk