A day before I saw the RSC production of The Buddha of Suburbia, a private school principal and I were chatting in his office about some of author Hanif Kureishi’s themes – whether they still resonate with readers and audiences today.
Kureishi’s debut and seminal The Buddha of Suburbia (1990) is loosely semi-autobiographical and set in the 1970s south London.
It tells the story of Karim Amar, an aspiring teenage actor of mixed-race background, circuitously making his way in the confusion of having both white and Indian identities.
It contains taboos – infidelity, divorce, the lure of western music, and gay sexuality, and mutual masturbation.
Emma Rice directs (and co-adapts with Kureishi) the 1990 novel for the stage, and, on the whole, does a pleasing job.
A scene from the play
The play has Karim ‘…an Englishman born and bread. Almost’ (played by Dee Ahluwalia) narrating the story into the microphone stand. He looks like a comedian as he flutters from the present to the past, and from the past to the future, while Rice intersperses his story with slow motion, dance routines and pauses.
Rice provides a relatively faithful interpretation of the work by trying to cram as much of the book as possible.
The 1970s’ sound track gives the show a certain coolness, but choreography is a bit messy, humour thin, and running at almost three hours in length, the production is a bit long and could work equally well as a two-hour story.
However, Rice gets a good performance out of Ahluwalia. His presence on stage and address to the audience contain just the right tone, charm, and cynicism. His demeanour, poise, and camp dress are pleasure to watch.
Tommy Belshaw as the egotistical Charlie – who compares himself with David Bowie – is also colourfully flamboyant, while Ankur Bahil’s cold Haroon injects the right level of emotional detachment and pathos to render him both a victim and perpetrator of the destruction of his marriage (his headstand pose that seems to last a life time is amazing).
Other notable actors deserve a mention, including Ewan Wardrop. His comical and satirical portrayal of Matthew Pyke (the director who is into wife swapping) is sparkling and amusing, with the overtones of the all-too familiar seaside postcard titillation relating to sex toys and bananas.
Raj Bajaj who delivers an innocent and charming performance as the child-like, disillusioned Indian, Changez, and Natasha Jayetileke who plays the jubilant Jamila (a feminist with a healthy appetite for both sex and politics), provides the right mix of frivolity and maturity, while Lucy Thackeray’s hippy Eva is just as enticing as Eva finds Haroon’s exotic personality and Eastern mysticism.
A scene from the play
Set in the 1970s with the coming of age as the backdrop and sprinkled with racism, prejudice, and far-right violence, the jury is still out as to whether The Buddha of Suburbia is just as relevant now as it was 30-40 years ago or whether the perimeters for this debate have changed. As my friend, the school principal alluded, since 9/11 we have been moving towards a different form of racism. Today it is brown on brown racism in Asian communities – manifesting in cultural suspicion, religious intolerance, anti-Semitism, and homophobia – that we need to address.
Rating: *** (3 stars)
The Buddha of Suburbia written by Hanif Kureishi
Directed by Emma Rice
Swan Theatre, RSC, Stratford Upon Avon
Until June 1, 2024
Rahul’s casual dismissal of that controversy has added fuel to the fire
Rahul Bhatt sparks controversy over 'insensitive' remarks about sisters Alia and Pooja Bhatt
Rahul Bhatt, fitness trainer and son of veteran filmmaker Mahesh Bhatt, has found himself at the centre of a social media storm following controversial remarks about his half-sister, Alia Bhatt. In a recent interview, Rahul drew comparisons between Alia and their older sister Pooja Bhatt, calling the latter more talented, attractive, and principled.
The comments, which many have labelled inappropriate and insensitive, have sparked widespread criticism online. During the interview, Rahul stated, “In my opinion, she (Alia) is not even half of what my real sister Pooja is. Not in talent, not in looks, not in terms of being sexy. In front of my sister, she is ‘paani kam chai’ (watery tea). Amongst the siblings, the most talented and the most moralistic is Pooja.”
Social media users reacted strongly, questioning why Rahul would compare his sisters in such personal terms. Several users were particularly disturbed by his reference to their appearance and sex appeal, pointing out that such comparisons within a family cross boundaries of propriety. One comment read, “This is disturbing. Why talk about your sisters like that? It’s not just weird, it’s wrong.” Another post said, “There’s nothing respectful about comparing your siblings’ attractiveness in public.”
The backlash also reignited conversation around a decades-old controversy involving Mahesh Bhatt and Pooja Bhatt. Rahul was asked about the infamous 1990s magazine cover where the father-daughter duo shared a kiss, which had stirred public outrage at the time. Dismissing the criticism, Rahul said, “It doesn’t make any difference. It’s like water off a duck’s back. We know the truth, and we’ve seen everything since childhood.”
Rahul’s casual dismissal of that controversy has added fuel to the fire, with critics saying it reflects a broader issue of the Bhatt family being insensitive to public perception and boundaries. Many users questioned the need for bringing up old incidents in a bid to defend new and equally questionable statements.
As of now, neither Alia Bhatt nor Pooja Bhatt has issued any public response to Rahul’s remarks. Both actors, known for their significant contributions to Indian cinema, have typically kept family matters private despite living in the public eye.
This episode has also sparked debate over the role of public figures in maintaining respect when discussing family matters in the media. Observers say such comments, especially when involving women’s appearance and personal qualities, reinforce problematic attitudes and fuel unnecessary controversies.
While Rahul Bhatt is not as prominent in the entertainment industry as his father or sisters, his comments have made headlines and placed the Bhatt family in the spotlight for reasons beyond their creative work. For many, this serves as a reminder that public platforms come with responsibility, and that family ties should not be trivialised or dissected for attention or comparison.
The backlash is unlikely to subside soon, especially as fans and followers of Alia and Pooja continue to express disappointment over the way the situation has unfolded. Whether or not Rahul chooses to clarify or apologise remains to be seen.