Everything Theatre Reviews, interviews and news for theatre lovers, London and beyond
A joyful adaptation of Kureishi's award-winning novel.Summary
Rating
Excellent
The Buddha of Suburbia was dramatised on the BBC back in 1993; my first encounter with this story. This version at the Barbican is the first time Hanif Kureishi‘s novel has been adapted for the West End stage, and it is a joy to watch. Co-adapted by Kureishi and director Emma Rice, it offers a stylised look into the life of an Anglo-Indian family in the London suburbs at the end of the 1970s.
As the audience takes their seats, a colourful, multi-layered set designed by Rachana Jadhav is on show, adaptable to the variety of story settings. Video images from the period are projected throughout, along with TV programmes and news coverage, creating a dynamic 1970s London backdrop. The designer Simon Baker perfectly evokes the era, and this is enhanced by popular music from the time, spanning folk, glam rock, punk rock, and more.
We meet Karim, played by the captivating Dee Ahluwalia, who immediately breaks the fourth wall, expecting the audience to respond to this cocky young person of the ’70s. Born to an English mother, Margaret (wonderfully portrayed by Katy Owen), and an Indian father, Haroon (the flexible Ankur Bahl), Karim rides the tide of a tumultuous Britain marked by industrial disputes, high inflation, a rise in the far right, and increasingly overt racism. Against this backdrop, he faces the breakdown of his parents’ relationship and his father’s desire to reinvent himself — earning his mocking nickname from Karim, “The Buddha of Suburbia.” Haroon begins an affair with Eva (perfectly played by Lucy Thackeray), while Karim himself faces a sexual awakening, as do many characters in this pre-AIDS society.
Another theme explored in the production is seen in Karim’s close friend Jamila (the sublime Natasha Jayetileke). The daughter of Haroon’s childhood friend, Jamila wrestles with her family’s traditional expectations, including an arranged marriage, demonstrating the contrast with the freedoms of the women’s liberation movement and an increasingly liberal society. Jayetileke captures Jamila’s rebellious spirit and desire to break from cultural constraints with emotional depth.
Karim wants to be an actor and ends up in the cast of a new play by ‘celebrated director’ Matthew Pike (the scene-stealing Ewan Wardrop). These scenes draw some of the loudest laughter, as the talented cast become members of the troupe, undergoing very familiar acting exercises from the period: a ‘trust fall’ would have been the icing on this fondant fancy!
While several darker themes are present (a racist attack, drug abuse, and racial stereotyping, to name a few), these remain on the periphery of the staging and storytelling. This choice works well for a theatrical adaptation, with Karim as the central focus and this chapter of his life brimming with youthful exuberance and discovery.
Like the book, the play does not shy away from sex — of which there is plenty, reflecting the era’s liberated attitudes. However, it’s dealt with in a light-hearted and funny manner. These moments are expertly choreographed by Etta Murfitt, who also serves as the intimacy coordinator. The hilarious use of various fruits and party poppers is inspired, conveying everything without discomfort or oversaturation.
This adaptation of The Buddha of Suburbia is an energetic, incredibly funny, and joyous experience. With its vibrant music, dynamic choreography, and standout cast, the production creates an unforgettable evening. While there are memorable moments that capture the complexity of the characters, it’s the overall uplifting feeling that lingers long after the final curtain which shines. This delightful blend of humour and heart ensures that the spirit of Kureishi’s world resonates, leaving audiences with a sense of joy and celebration.
Written & Co-Adapted by: Hanif Kureishi
Directed & Co-Adapted by: Emma Rice
Set Design by: Rachana Jadhav
Costume Design by: Vicki Mortimer
Sound & Video Design by: Simon Baker
Lighting Design by: Jai Morjaria
Composer: Niraj Chag
Choreography & Intimacy Coordination by: Etta Murfitt
Fight Direction by: Kev McCurdy
Produced by: Conrad Lynch & Ben Tyreman
Co-Produced by: Royal Shakespeare Company & Wise Children
The Buddha of Suburbia plays Barbican Theatre until Saturday 16th November. Further information and tickets are available here.
At the end of 2022, Hanif Kureishi had a serious accident which resulted in a spinal cord injury. He can no longer walk or use his hands and requires round-the-clock care as well as physiotherapy, hydrotherapy and equipment, which will enable him to maintain his fitness such as it is.
If you would like to contribute to upkeep and welfare, so he can continue to function as a writer, then please use this link.
