Review – Are You Even Indian? The Place Theatre, Bedford, 12th November 2026

Fresh from his success in Dial 1 for UK, Mohit Mathur returns with a new show that examines identity and belonging, specifically within the British South Asian community. Are You Even Indian? delves into a relationship between a young woman of Indian heritage born in England and a young Indian man born in Delhi who has come to the UK for a better life. For her, India represents something aspirational, something coursing through her veins, her ultimate drive and motivation. She’s undoubtedly British, but India is her lifeblood. For him, however, India means pollution and corruption, a stifling, judgmental environment that restricts his growth and does not allow him to realise his true potential, neither in his employment prospects nor in his overall outlook. Still, opposites attract, and surely with a bit of compromise, this couple are just two sides of the same coin, right?

To help create the work, Mathur workshopped ideas with members of the South Asian community in Leicester and Wolverhampton, learning at first-hand their own experiences, opportunities and problems. A myriad of stories were heard, many of which he has distilled into the show’s current shape. However, the performance at The Place, Bedford was its very first preview, and the team are still shuffling scenes in out and around, perfecting the material in advance of its official opening at London’s Riverside Studios on 24^th November.

Boy and Girl present their opposing arguments almost as though they were appealing to a court. But it’s impossible for us the audience to decide who’s right and who’s wrong. There are no easy answers to the questions that life poses them. All any of us can do is muddle along as best as we can, giving each other the space to breathe and be ourselves. Nevertheless, in their case, it matters that, for example, what Girl thinks is cultural misappropriation, Boy thinks of as cultural celebration. It matters that Girl takes religious traditions seriously while Boy scoffs at her belief in superstition. And what really matters is what happens if and when a child comes into the scenario.

The drama is interspersed with scenes of dance and movement, a decision which could backfire in the hands of less creative practitioners; but here each dance scene moves the story forward, similar to how a well-conceived song should operate within a musical. To make this succeed, the characters and the audience must emerge from a dance routine wiser than when they went into it; and this show reveals just how eloquent dance can be. From the comic speed dating scene where they meet, to the exciting romance of their courtship, the proud exuberance of their wedding, and the devastating sadness of their pulling apart, the dance always enriches our understanding of their emotions and circumstances.

It’s a fascinating and very relatable story featuring two likeable characters who quickly get under our skin and whom we truly want to succeed in life. But what is perhaps the most impressive aspect of the play is the way it makes you ask questions of your own life and forces you to imagine how you would react if you were in the same situation as Boy or Girl. Never having moved countries myself, I’ve not had to consider many of these issues; but Mrs Chrisparkle, with her childhood spent living in Australia, might well still fail Norman Tebbit’s cricket test when push comes to shove. But this is a minor issue compared to the crunch decision facing Boy and Girl at the end of their play; left deliciously and deliberately unresolved so that the audience can draw their own conclusions.

The two actors work seamlessly together, both in conversation and in dance. Sharan Phull is excellent as Girl, confident and assertive on one hand, surprisingly vulnerable on the other, even in the early days of falling in love, and always optimistic until the harsh realities of life intercede. She has the most expressive eyes that reveal her emotions even before she starts to speak, which helps us engage with her predicament. Mohit Mathur is always totally believable as Boy, easy to identify with, showing a tremendous range of emotions and characteristics. We empathise with him, despite his tendency towards slobbishness and irascibility, constantly leaving his towel on the floor for his wife to pick up, retaliating when put on the spot with difficult questions; and when it looks as though his world might fall apart, you feel desperately sorry for him. It’s an outstanding partnership.

Provocative, relatable, occasionally disturbing but always leaving you with a smile on your face, Are You Even Indian? is fifty-five minutes of engrossing self-examination which will affect everyone differently, depending on their own experiences. This is only going to get better as it beds in, and I’m sure that once the final version is launched at the Riverside Studios, it will be⭐⭐⭐⭐⭐all the way! After Riverside, the production visits Leicester, Birmingham, Wolverhampton, Bristol, Guildford, Chichester and Oxford, with more dates to be announced.