Movies

PATRICK MARMION reviews Marriage Material at the Lytic Theatre: Catherine Cookson meets The Kumars in a sweet Sikh sitcom

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Marriage Material (Lyric Theatre, Hammersmith)

Verdict: Irresistible nostalgia 

Nobody does family quite like Indians do. 

In terms of strong familial ties, it’s tough to find a match – a truth that becomes evident once more with the latest stage rendition of Sathnam Sanghera’s acclaimed novel, Marriage Material, set in Wolverhampton.

However, the captivating aspect of the tale of these two Sikh girls during the Sixties and modern-day Britain lies in its hidden longing for traditional, patriarchal customs.

Or, another way:

The intriguing element of the story about these two Sikh girls in the Sixties and current Britain is its covert yearning for antiquated, patriarchal values.

In the heart of a red-brick terraced house, we find ourselves with the Bains family – Mr. Jaz Singh Deol and Mrs. Avita Jay, who are first-generation Sikh immigrants. They operate a corner store and passionately advocate for bus conductors to be allowed to wear turbans.

In this culture, men hold a significant upper hand, and yet, their daughter Surinder (Anoushka Deshmukh), who’s quite intelligent and delves into Thomas Hardy’s works, is viewed with suspicion. Her mother believes education keeps one awake at night and forces an early-morning visit to the restroom.

That particular line elicits barks of familiarity, while daughter Kamaljit (Kiran Landa) finds contentment in a harmonious union with diligent and traditionally proud Sikh, Tanvir (Omar Malik).

Indulge me here – Gurpreet Kaur Bhatti’s stage adaptation seems more effective as an ode to the timeless Sikh ethos, yet it appears to lose some of its dramatic impact in the contemporary second half when characters seem culturally disoriented.

Initially, it seems like the story unfolds as a dramatic, labor-intensive narrative akin to a Catherine Cookson novel. However, eventually, it turns out to be more similar to a lighthearted Kumar’s sitcom.

In simpler terms, the white characters often lack depth and their dialogues can be quite unintentionally funny. However, Iqbal Khan’s grand production still manages to exude an appealing charm.

As a devoted admirer, I must acknowledge that Jay masterfully portrays the complex mix of emotions felt by the Indian matriarch. In a gentle yet powerful way, Landa embodies her mother’s successor – a shy yet passionate older daughter who finds herself captivated by Malik’s proud young Sikh. Deshmukh, on the other hand, skillfully reveals the turmoil and longing for freedom experienced by the younger daughter. Despite its flaws, much like family, it continues to hold our unwavering allegiance.

Until June 21, then at Birmingham Rep from June 25-July 5.

 

The Beautiful Future Is Coming (Bristol Old Vic)

Verdict: Smoke but no fire

By Georgina Brown

In the foyer of Bristol Old Vic, a newly planted field maple is flourishing, vivid green. 

Instead of the scorched, submerged setting portrayed by Flora Wilson Brown in this melancholic, impressionistic play on climate change.

Or:
In contrast to the barren, flooded backdrop presented by Flora Wilson Brown in this somber, impressionistic play addressing climate change.

Or:
Unlike the desolate, waterlogged scenery painted by Flora Wilson Brown in this gloomy, impressionistic piece about global warming.

Each of these sentences conveys the same meaning but with a slight twist to make it more engaging and easy to read.

In 19th century New York, the male-dominated Royal Society dismisses a paper on the greenhouse effect, written by Eunice, the wife of supportive John (played by Matt Whitchurch) and amateur scientist Phoebe Thomas, due to her being a female ‘hobbyist’. This initial storyline serves as a rather conventional historical setting.

The captivating plot unfolds in contemporary London, featuring Dan, played exceptionally by Michael Salami, who finds himself smitten with his superior, Nina Singh. Their relationship is playful and sensual until an unexpected tragedy occurs: Daniel’s mother perishes in a flood that, much like the frequent fires, brings devastation in its wake.

Deeply enraged and disheartened by a system that let his mother’s remains go unnoticed, leading to a gruesome swelling, Daniel’s raw, speechless sorrow carries an intensity and elegance that seems absent elsewhere.

In a not-so-realistic scenario set in the future, we encounter the seemingly untrustworthy pair, Ana (Rosie Dwyer) and her dim-witted coworker Malcom (James Bradwell). These characters are supposedly scientists, but their efforts to grow plants in a makeshift tub seem questionable at best. Their attire is also quite peculiar, hinting at a touch of silliness in the storyline.

Stranded by a storm (it seems), with only their final water supply left (which sounds strange given it’s been raining consistently for months), this isn’t an ideal location or moment to welcome a newborn child.

The play’s hopeful title unexpectedly becomes a harsh irony. ‘How can you concern yourself with flooding in three years when you’re so busy dealing with everything now?’ someone queries, which could be Brown’s intention. As each day is like battling a fire, concerns about the future are often pushed aside.

In Nancy Medina’s direction, the transitions between scenes flow seamlessly, like panels smoothly sliding one after another. However, the stories don’t manage to unite effectively, leaving the overall performance lacking a compelling, fulfilling narrative arc.

Although climate change is certainly a pressing matter, the play seems more like an unfinished piece: full of smoldering hints but lacking actual flames.

Until June 7.

 

Marie And Rosetta (Rose Theatre, Kingston)

Verdict: Raising the roof (of the church)

Everyone ought to be familiar with the trailblazing gospel singer and guitarist Rosetta Tharpe, affectionately known as the “godmother of rock ‘n roll.” Her influence, highly regarded by music connoisseurs, has inspired numerous artists, from Little Richard and Johnny Cash to Elvis Presley and Aretha Franklin.

American playwright George Brant puts this forgotten heroine back in the spotlight she deserves.

The play centers around a pivotal event: when Sister Rosetta extends an invitation for a captivating young gospel performer to travel with her.

Rosetta aims to regain favor with the evangelical church, displeased by her suggestive, secular songs performed alongside Cab Calloway at the Cotton Club. However, before she can do so, she needs to help Marie find rhythm in her voice and, most importantly, confidence in her movements. “You can bring the swing,” Rosetta calls out, “and I can add some spirituality for you!

In a captivating manner, the remarkable Beverley Knight embodies the affectionate and giving spirit of Rosetta, touching her soul deeply. This influence inspires Ntombizodwa Ndlovu’s initially timid persona to blossom like a passion flower, growing bolder and more self-assured.

Collaborating dynamically and exuberantly, their extraordinary abilities meshed seamlessly, resulting in an electrifying performance of “This Train.” This divine duet, according to Rosetta, was crafted by a creator who didn’t want the devil to monopolize all the great music.

In a Mississippi funeral home during the 1940s, when racial segregation was prevalent and hotels refused service to African Americans, the women prepare for their upcoming tour. This was the only setting where large gatherings of black people could take place without drawing unwanted attention, as warehouses and hangars were the only available options.

After the rehearsal ended, the play became disoriented, and the remainder of Rosetta’s life – which included marrying three times, losing a limb, suffering a stroke, living in poverty, and being buried in an unmarked grave – unfolded without any dramatic representation; it was all narrative, no performance.

But when this dynamic duo sing, the piece soars.

In Kingston till tomorrow (May 24), then Wolverhampton, and Chichester.

 

Also showing…

This Is My Family (Southwark Playhouse)

Verdict: Flat-pack family

In terms of portraying family life at home, This Is My Family comes across as a rather ordinary, prefabricated musical that seems to have been assembled following instructions using screwdrivers.

Initially presented in Sheffield during 2013, Tim Firth, famously known for “Calendar Girls,” crafted a play revolving around a nuclear family. The 13-year-old girl in this family triumphs in a competition and is rewarded with the opportunity to take her mom, dad, and sibling on a dream vacation anywhere across the globe.

In typical Firth form (following Neville’s Island), that means a wet staycation in a woodland.

Dad (Michael Jibson) is a dedicated do-it-yourselfer with a persistent spirit, while Mom (Gemma Whelan) often rolls her eyes and complains, finding frustration in his frugal projects.

In a small kitchen cabinet resides their Gothic-styled son (Luke Lambert), grandma (Gay Soper) is gradually succumbing to dementia, and Aunt Victoria Elliott shares a humorous remark about Wookey Hole.

This version aims to make the original sentence more accessible and easier to understand by replacing technical terms like “drifting into” with “gradually succumbing to,” and using more common phrases such as “lives in” instead of “resides.” The humor is preserved with Aunt Victoria’s comment about Wookey Hole.

1. Teenager Nicky (Nancy Allsop) deftly takes charge, blending the charm of Aled Jones and the spiritedness of Roald Dahl’s Matilda.

2. Nicky, a teenager played by Nancy Allsop, skillfully leads the group with a blend that resembles both the enchantment of Aled Jones and the pluck of Roald Dahl’s Matilda.

3. In a captivating display of leadership, teenage Nicky (portrayed by Nancy Allsop) combines the allure of Aled Jones and the determination of Roald Dahl’s Matilda.

4. Teenager Nicky, in the role of Nancy Allsop, effortlessly steers the team with a fusion that echoes both the magic of Aled Jones and the spunk of Roald Dahl’s Matilda.

5. Nancy Allsop’s character, the teenage Nicky, leads impressively, merging the charm of Aled Jones and the courage of Roald Dahl’s Matilda.

Under the direction of Vicky Featherstone, who previously led the Royal Court Theatre, the production adopts a style reminiscent of B&Q, with Chloe Lamford’s collapsible, fitted kitchen set design as its finishing touch.

If you’re expecting something beyond generic television tropes, you might find yourself underwhelmed. At the same time, it’s neither offensive nor problematic, and fits well without appearing awkward.

Until July 12.

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2025-05-30 03:51

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