Zia claims he was visiting family in Pakistan and that he reluctantly accompanied his uncle's associate on a business trip to Afghanistan, where he was kidnapped by the Taliban and ended up in the midst of the battle.
The harsh sunlight outside was simulated by lighting designer Jason Taylor, and sound effects including helicopters and flies were created by Nick Manning.
Sarah Hemming of The Financial Times wrote: "In the confined Royal Court Upstairs, the audience can taste the dust off Bob Bailey’s set.
"[8] Maxie Szalwinska of The Sunday Times observed, "So effective is Mike Bradwell’s production in conjuring the swooning heat of the Afghan desert, you may want to pack shades and a fly swatter.
"[10] Paul Taylor of The Independent called it "a brilliantly acute and witty examination of the conflicts of race, class, nationality, and fundamental values thrown up by a morally questionable occupation.
Sarah Hemming praised the performances and the tension of the immediate situation, but felt the play became "a bit clumsy and heavy-handed" when addressing larger issues such as "power structures, occupation and the impact of recent conflicts on young British Muslims.
"[8] Dominic Cavendish of The Telegraph likewise commended the acting and the atmosphere but found fault with the "Q&A structure" and thought that "the military class-rivalry feels a touch tendentious.
Joe Armstrong, Josef Altin and Imran Khan reprised their roles from the stage production, joined by Ashley Kumar as Zia, James Norton as Captain Mannock and David Kirkbride as Phippy.