Everything Theatre Reviews, interviews and news for theatre lovers, London and beyond
Waleed Akhtar’s The Real Ones shines an often-absent light on platonic relationships, exploring the challenges of sustaining them long-term Summary
Rating
Good
School friends Zaid (Nathaniel Curtis) and Neelam (Mariam Haque) aren’t interested in little white lies. They want the truth – the “real talk” – and they’re not afraid to ask for it.
Waleed Akhtar’s The Real Ones shines an often-absent light on platonic relationships, and the ways in which they must adapt to survive the passing of time. Built on honesty and a mutual determination to ‘make it’ in the world, Zaid and Neelam’s friendship acts as an invaluable anchor through their teens and into their twenties. Both British Pakistanis from low-income families, the pair encounter discrimination and impermeable class divides; but they’re in it together. Until, that is, adulthood begins to lean its full weight on the duo and their relationship suffers as a result.
The Bush Theatre is a natural home for Akhtar’s script, which tackles heavy topics of racism, class and sexuality with a sparky, youthful energy. Dialogue rattles pleasingly along, especially when delivered by Haque; her performance is an aptly ‘real’ one, hitting the story’s emotional beats with a rare authenticity. Curtis is a little stiff by comparison, but still acts as a good sounding board for Haque.
The Real Ones‘ pacing is also notably strong, with the tension mounting quietly as Neelam and Zaid encounter new challenges which they must shoulder alone. Neelam falls in love with Deji (Nnabiko Ejimofor) a Black man of whom her Pakistani parents disapprove, while Zaid enters into an open partnership with his university professor, Jeremy (Anthony Howell) – of whom Neelam is sceptical. Neelam gives up dreams of becoming a playwright in favour of a career in the law, while Zaid continues to chase a life in the arts. With each event, the gentle ache of this shifting friendship is brought closer to the surface; every text that goes unanswered and every comment that goes unheard becoming a small, but significant, act of betrayal. We as an audience start to wonder: Will it be now? Or now? Will they address the weakening foundations of a decade-long friendship today? When will we get the ‘real talk’ that the pair have, over time, forgotten to request?
Anisha Fields’ staging is simple but effective in highlighting these growing tensions. Zaid and Neelam jump in and out of a circle sunk lightly into the stage floor. And as the emotional distance grows between them, the pair move gradually further toward the circumference of this circle – boomeranging inward during moments of closeness only to spring to its edge a few moments later. It’s a clever use of stage and movement that works very well in the intimate space of The Bush.
The Real ones is nothing ‘new’, per se – the ideas and approach taken feel largely familiar – but what the show does, it does very well. This is an engaging, enjoyable production that, at times, delivers quite the emotional left hook. But perhaps best to avoid seeing it with that one old friend who still hasn’t returned your phone call.
Written by: Waleed Akhtar
Directed by: Anthony Simpson-Pike
The Real Ones plays at Bush Theatre until 26 October. Further information and bookings available here.
