“Buddha of Suburbia?” I hear you ask. “Wasn’t that the TV series in the 1990s that was full of sex? Disgusting, I tell you.” I didn’t see the programme, so I can’t vouch for its content, and nor – unlike most of the rest of the world – have I read Hanif Kureishi’s best-selling book. But I have seen Emma Rice’s production of the RSC/Wise Children co-production of Rice and Kureishi’s own stage adaptation, on at the Swan Theatre until 1st June, and believe me, it’s the best thing since sliced chapatis.
Karim greets the audience and welcomes us back into the England of May 1979. Ah yes, I remember it well… the winter of discontent, National Front members roaming the streets, and the upcoming electoral victory of a grocer’s daughter from Grantham. Happy days. If that wasn’t nostalgic enough, we then go back to 1976, to visit the domestic bliss of 17-year-old Karim’s homelife; his yoga-loving father Haroon, his dowdy mum Margaret, his cheeky auntie Jeeta, his grumpy uncle Anwar, his bestie Jamila, and the love of his life, Charlie.
Over the next three hours or so, we witness Karim’s journey to adulthood, through sex and drugs and rock ‘n’ roll; or, rather, fabulous trashy 70s disco which is even better. Relationships, his first acting job, and what the young people of today call adulting – it’s all there. It reminded me a little of the picaresque escapades of Nicholas Nickleby – only without the sex. It isn’t a journey without its problems; mind you, who’s is? For a young man who appears to think a lot, Karim makes a few reckless decisions, leaving others hurt in his wake. But he achieves an enviable personal sense of being at ease with everything that life can chuck at him; lucky lad.
It’s very rarely that every single aspect of a production comes together so stonkingly well. The script is affectionate, insightful, bouncing with comic observations and stunning use of language. Rachana Jadhav’s intricate, compact and yet hugely versatile set manages to convey living rooms, bedrooms, gardens, shops… you name it, it conveys it. Vicki Mortimer’s outstanding costume design picks up all the delightful eccentricities of the 1970s: flares, gaudy colours, cowboy jackets, tunics, and above all, the primary coloured Jockey Y-Fronts that were all the rage. The show is accompanied by a superbly chosen range of music of the era, and choreographer Etta Murfitt has gone to town recreating those marvellously silly dance routines we used to do back in the day. Even elements such as Kev McCurdy’s fight direction and the superbly convincing range of accents are top-notch, as Changez might say.
Emma Rice’s direction brings out so many superb individual performances and the show is peppered with hilarious and telling moments that say so much about a character or a situation with fleeting wordless eloquence; such as the casual flicking out of belly-button fluff or the subtlest of knowing glances. There’s also the most inventive use of fruit ever seen on a stage; be warned!
Every single member of the cast pulls a brilliant performance out of their respective hats. It all starts and ends with Dee Ahluwalia’s captivating Karim, a character who instantly wins you over with his honesty, approachability and charisma, and provides an unbreakable link with us over the whole three hours. It’s an astonishing central performance that’s a major step on the way to making him a star.
Ankur Bahl is also fantastic as his father Haroon, essentially a weak and conceited people-pleaser who spends more time attending to his own needs than anyone else’s; he’s an excellent yogi too! He makes a terrific contrast with Bettrys Jones’ brilliant vision of dowdiness, Margaret, a mass of unkempt hair and suppressed artistic talent. Ms Jones is also excellent as Eleanor, with whom Karim has his first proper relationship; she’s on her own journey that does not necessarily include him.
Natasha Jayetileke gives a strong performance as the unruly free spirit that is Jamila, beautifully ill-matched with Raj Bajaj’s innocent-abroad Changez whom her family have chosen for her to marry. Mr Bajaj provides some of the best laughs but also some truly moving moments as he accepts he’s never going to get everything he wants. Rina Fatania delivers stunning performances in all her roles – 
the irrepressible Auntie Jeeta, the deliciously lascivious Marlene and the politically correct actor Tracey. Ewan Wardrop gives a sensational performance as the pompous and pretentious director Matthew Pyke – with possibly the best line in the show, addressed to an audience member.
Lucy Thackeray shines as Haroon’s sophisticated second love interest Eva, and Simon Rivers portrays Anwar’s cantankerous and spoilt inner child to perfection. And Tommy Belshaw takes your breath away as he conveys Charlie’s rise as a super-confident and charismatic
young man, followed by his subsequent fall as a dashed and destroyed dependent, wasting away before our eyes.
Not one weak spot in the production; and not one thing I wish they’d done differently. Emma Rice always makes you think and surprises you with unexpected tweaks and quirks, but here she has truly excelled herself. Incredible characterisations, superb performances, brilliant direction; a production to relish.
Production photos by Steve Tanner
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