In the Prayer of Darius, Haideh portrayed an ancient gold statue based on Darius the Great (522-486 BCE)’s love for the youngest daughter of Cyrus, Artystone, who comes alive for a few moments. This dance was used to kickstart the evening’s performances on a regular basis as it set the right atmosphere for the rest of the evening ahead. Contributing to this atmosphere were the two tall white incense burners standing on either side of the stage with real incense burning.

The Prayer of Darius was choreographed by Nilla who based the movements on Zoroastrian Rituals for which inspiration was taken from the Greek Herodotus’ descriptions of the Achaemenid empire and from the friezes of Persepolis, the ruins of emperor Dariush palace near Shiraz.

The dance was performed by Haideh, who was joined by four magi, fire priests, at the end of the dance. Haideh’s costume was made of golden coloured fabric with printed patterns copying carvings on the stones of the palace. She also wore a golden crown, necklace and armbands which were encrusted with fake rubies. Around her feet were golden ribbons laced around her toes to appear like sandals - this was because Mrs Cook did not allow the dancers to wear shoes on stage as she believed the stage to be a sacred place like a mosque.

The dance began with the statue, Haideh, dancing with slow and static movements until Mrs Cook recited Herodotus’ words: “I am Darius, King of Kings, Lord of this Earth, Son of Hestaspa, the Achaemenid, A Persian, son of a Persian". From that point, Haideh’s movements progress to be “more lively depicting archery, horse-riding and javelin throwing.” The magi, fire priests, enter and present gifts - like the procession of the stone carving - the statue gradually returns to its first position on the dais and light gradually fades - feeling of a vision. To Haideh, the Prayer of Darius “really made one proud to be Iranian and every time” she danced it, she had goose flesh.