Al-Tayyib al-Siddiqi is a foundational figure in modern Moroccan theatre. In this paper I argue that, although his work of the late twentieth century has helped create the category of a national theatrical movement in Morocco, he challenges the very possibility of national narratives in the artistic field. Trained in France, famous early in his career for authoring Moroccan colloquial plays and adapting Russian works for the Moroccan stage, al-Siddiqi made a controversial turn toward 'Abbasid adab (Classical 'belles-lettres') in his productions "Abu Nuwas," "Abu Hayyan al-Tawhidi," and "Maqamat Badi' al-Zaman al-Hamadhani" ('The Maqamat, or "Séances" of al-Hamadhani') during the 1970s and 1980s. It is my contention that these works appeal to both a generalist ethos of Arabic-language theatre--"Maqamat" opened at the Damascus Theatre Festival before achieving domestic fame in Casablanca--and a specifically Moroccan redress of national historiography. The paper examines these plays against a backdrop of historical narratives recounting Morocco's medieval past. Specifically at issue is North Africa's Andalusi heritage. A popular and highly politicized historiography--which tends to privilege the Umayyad beginnings of Andalusi empire, and elide both the 'Abbasid cultural presence in al-Andalus and the Moroccan regimes that succeeded the Umayyads in ruling Iberia--comes under direct scrutiny in al-Siddiqi's language of medieval anachronism and revival. The paper argues that al-Siddiqi's "Maqamat" play, in particular, exploits the courtly social protocols of adab to allegorize Moroccan nationalism. The canny renovation of al-Hamadhani's rogue hero--a character eloquent in Classical Arabic, demonstrative in performance, nostalgic, opportunistic, and ultimately deceitful--seeks to confirm longstanding notions of an 'Abbasid "Golden Age," while compelling Moroccan audiences to question the extant versions of their own national identity.