Warwick Arts Centre, Coventry, Tuesday 16th October, 2018
Priding themselves on giving voices to British Asian theatre-makers, Rifco Theatre Company brings this new piece from playwright Gurpreet Kaur Bhatti (writer of the excellent Elephant) to Coventry.
Set in 1978, this is the story of Simon, a wheelchair-bound Indian boy, growing up in England. His mother having died, Simon is brought up by his father and grandmother – the latter expressing her shame at having such a child in the family. When Baljit comes to stay, ostensibly to ‘help out’, Simon finds an ally in his bid for independence.
It’s a very funny family drama, along the lines of Anita & Me and East is East, dealing with the clashing of cultures: traditional Indian values vs trying to fit in to a British way of life – but also, the rise of the National Front, a stain which spreads and spreads until the characters, chiefly Simon, have to confront it. With the bookish Baljit at his side, Simon is bolstered by the fantasy world of Bollywood films – the play’s title is an onomatopoeic word for the sound of a bullet being fired.
In his professional debut, Bilal Khan impresses as the beleaguered Simon, while the excellent Gurkiran Kaur’s Baljit is both a figure of fun and a voice of reason. Omar Ibrahim gives Simon’s Dad sensitivity – Ibrahim later appears as a quack swami figure, claiming to be able to get Simon on his feet and walking for the price of an iron and a toaster, in one of the play’s funniest scenes. Georgia Burnell is strong as Donna, object of Simon’s affections; Elijah Baker demonstrates his skills at disco-dancing as mixed-race Mark, caught between communities; while James Mace’s rage-filled Keith is the ugly voice of racism, wrongly attributing the loss of a job opportunity to the arrival of That Lot. The play acknowledges how white people can get caught up in this skewed way of looking at the world – Wouldn’t it be great to be able to state that such thinking has been thoroughly confined to the past? Of course, the play is commenting on today as much as 1978.
Just like Simon’s household, the play is dominated by the matriarchal Bibi, in a commanding, hilarious performance from Seema Bowri, veering from the tyrannical to the desperate, but all done with love and the desire for the best for the family.
Neil Irish’s ingenious set gives us swift transitions between locations, along with Rory Beaton’s lighting, that accentuates the Bollywood fantasy moments. Arun Ghosh’s original music heightens mood and flavour – together with extracts from Bollywood films, providing moments of nostalgia for many of the audience members tonight. Andy Kumar’s choreography is joyous. Director Pravesh Kumar balances the humour and drama of the domestic scenes, with the stylised action of the fantastical moments, and successfully evokes the menace of the largely off-stage racist rabble.
It all adds up to an enjoyable show with all-too strong parallels to today’s society. What comes across most strongly is the shared humanity of the characters, in positive and negative lights. This is thought-provoking entertainment of a very high quality.
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