Theatre, not just for Asians

Far from worthy, the Propeller festival is a showcase for exciting new plays.

Before I attended the Propeller festival of Asian theatre on Monday night, I had thought that a showcase for specifically Asian talent would be dated and retrogressive.

Post-East is East, post-Bombay Dreams, post-Slumdog Millionaire, I felt we were a bit beyond this potentially patronising sort of "platform". The planned mothballing of the BBC's Asian Network feels like the final boot for a state-sponsored British Asian cultural movement and I half-agreed with commentators l Catherine Bennett who welcome its demise as healthy sign of the times.

Also unlike Asian music, film and dance, most audiences wouldn't claim Asian theatre as a distinct artistic genre or, I suspect, care if a play is brought to them by Asian directors, set-designers, and writers.

However, two days and four plays later, I now want to see Propeller staged at the National Theatre next year. Here, I have seen more fresh, exciting drama about modern Britain that truthfully reflects my experience of it than in my entire adult theatre-going life. And these performances are just works in progress.

Since my first-generation Pakistani immigrant parents first introduced me to theatre, at the National 25 years ago, I've been hoping to see something of their and my world reflected on its stages with the same quality of the Molière play we first attended. But the more Asian themed work I've seen at the National over the years, the less I've wanted to see any Asian theatre anywhere.

In fact, in the last year I've attended three performances there which portrayed British Asian or Muslim identity: The Black Album, Waiting and England People Very Nice. Although well-intentioned, Waiting, a verbatim play about the women left behind when their husbands were interned under terror laws was not really drama at all but performed journalism. Despite its intention to give voice to the voiceless, it was an outsider's version of Muslim womanhood seen through the prism of headlines, which ended up reinforcing the idea of us as victims.

The Black Album, again about terrorism (I spot a theme), was embarrassingly dull. And England People... succeeded because it was honest about its shallow treatment of characters of all races. The National seems institutionally incapable of staging a high quality production with three-dimensional contemporary Asian characters. The success of Tamasha, the theatre company behind Propeller, in doing just that would suggest that the problem is a lack of awareness among people who commission and produce plays, rather than those who write them.

In the Propeller plays (Snookered, Lotus Beauty, Blood and Zindabad) the characters, storylines and dialogue ring true. True - not self-consciously authentic, and not crowded out by a sea of issues. Snookered is about four young men meet up in a snooker hall on evening on the birthday of their dead friend Talub. Its writer, Ishy Din, has a sharp ear for quick-fire, blokey, put-downs which are delivered throughout with perfect timing by a remarkably assured cast. But the irresistibly silly schoolboy banter is woven into much darker deeper probings into fragile masculinity reminiscent of Glengarry Glen Ross.

When one character is accused of being a "fundo" because he's not drinking alcohol I fear the obligatory airing of the "Jihadi generation" issue but it never comes, at least not in an explicit way. Difficult themes like religion, drug addiction, misogyny, poverty and racism do feature but Snookeredis first and foremost a subtle, complex, entertaining and truthful play about the inner lives of young British men who happen to be Muslims.

On the face of it, Propeller is the result of a rough and ready 3 weeks in workshops and rehearsal rooms in a church hall in Pimlico. In fact Tamasha first commissioned writers Ishy Din, Satinder Chohan, Avaes Mohammad and Em Hussain years ago as part of an ongoing quest to find and develop new writers. Din, who works as a taxi driver in Middlesbrough, told me the prolonged support was crucial for him because he doesn't move in the rarefied London-based theatre world. Chohan spent two months working in a Hounslow beauty salon to research Lotus Beauty, which is set in one.

Come to think of it, this is exactly how East is East came about - it was Tamasha that first "found" the script for East is East and developed it as a play. It's the same painstaking route that produces good theatre everywhere - Asian or not.

Propeller is on until Saturday 27 March at The Gate theatre, London

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SRSLY #94: Liam Payne / Kimmy Schmidt / Mulholland Drive

On the pop culture podcast this week: the debut solo single from Liam Payne, the Netflix series The Unbreakable Kimmy Schmidt and the David Lynch film Mulholland Drive.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

Listen using the player below. . .

. . .or subscribe in iTunes. We’re also on StitcherRSS and SoundCloud – but if you use a podcast app that we’re not appearing in, let us know.

SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s assistant editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

The Links

Liam Payne

The lyrics. Oh God, the lyrics.

The interview that Caroline mentioned, feat. Ed Sheeran anecdote.

Liam on the trending chart.

The Unbreakable Kimmy Schmidt

The show on Netflix.

Why the show needs to end.

The GOAT, Emily Nussbaum, on the show.

Mulholland Drive

Lynch's ten clues to unlocking the film.

Everything you were afraid to ask about Mulholland Drive.

Vanity Fair goes inside the making of the film.

For next time:

We are watching Loaded.

If you’d like to talk to us about the podcast or make a suggestion for something we should read or cover, you can email srslypod[at]gmail.com.

You can also find us on Twitter @srslypod, or send us your thoughts on tumblr here. If you like the podcast, we’d love you to leave a review on iTunes - this helps other people come across it.

We love reading out your emails. If you have thoughts you want to share on anything we’ve discussed, or questions you want to ask us, please email us on srslypod[at]gmail.com, or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.

Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 

See you next week!

PS If you missed #93, check it out here.

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