The Buddha of Suburbia at Barbican Theatre

In 1990 Hanif Kureishi – who had already made an impact with his screenplay for My Beautiful Laundrette – released what would soon become an acclaimed and influential debut novel. Over three decades later, The Buddha of Suburbia has been brought to the stage by director Emma Rice, with Kureishi credited as co-adaptor. Following a well-received run at Stratford-upon-Avon’s Swan Theatre, it now transfers to London’s Barbican. 

A relatable coming-of-age tale, the story is also a comedy of (sexual) manners, which delves into a multitude of other themes. Family, social class, racism and identity are among these; however, its backdrop of political and social discontent could not resonate more despite the many years since its initial publication. 

To echo the narration of the novel, the fourth wall is instantly broken as Karim (an endearing and energetic Dee Ahluwalia) directly addresses the audience via microphone. Early on we are encouraged to cheer and applaud, feeling a part of proceedings. It’s fitting seeing as the story is ultimately one of community.

Karim guides us through his life in south London. The teen is part English, part South Asian and feels somewhat trapped by the confines of suburban life. We meet close friend-with-benefits Jamila, beautifully portrayed by Natasha Jayetileke, as well as the subject of his infatuation, Charlie – a convincing Tommy Belshaw. Other family and friends are introduced, notably Karim’s father Haroon, who, within seconds of entering proceeds to perform an impressive headstand and various yoga poses. It’s in keeping with the new persona he has adopted. The title of the play is the nickname Karim has jokingly afforded him.

It isn’t long before Karim’s ambition to become an actor starts to come to fruition. He is cast as Mowgli in a production of The Jungle Book because he is seen as Black. Such racist attitudes of the 70s are authentically explored here with one scene featuring a brutal attack on an extended family member by a National Front gang. While it’s fair to say some of the source material’s darker aspects are glossed over, they are not entirely ignored. When adapting a novel for the stage, a lot will inevitably be diluted or left on the cutting room floor.

Employing her trademark physical theatre – Rice is known for her extensive work with Kneehigh – we are provided with a visual feast, which is enhanced further by Etta Murfitt’s choreography. Disco balls hang above Rachana Jadhav’s two-tier, playful yet functional set as our cast wear flares and florals courtesy of costume designer Vicki Mortimer. No detail has been missed as we witness the rapidly changing decade. Video footage of Thatcher is projected at one point, while during the interval 70s sitcoms play on a small TV.

Ahluwalia is a relative newcomer but is effortless in his embodiment of Karim. Katy Owen shows us a downtrodden wife and mother in stark contrast to her fragile, needy actress Eleanor. Rina Fatania also showcases such range in three very different roles. Simon Rivers as the Sherlock Holmes-obsessed Changez encourages laughter and sympathy as his character quickly realises the London he finds himself in is a far cry from the city depicted in novels. Lucy Thackeray and Naveed Khan also delight. Evan Wardrop as the ostentatious theatre director gives us a scene-stealing performance, mastering every line delivery and movement and, at one point, improvising humorously with audience members.

The production exudes feel-good warmth and those who love the novel are guaranteed to take great pleasure from this affectionate theatrical reworking.

Jonathan Marshall
Photos: Steve Tanner

The Buddha of Suburbia is at Barbican Theatre from 22^nd October until 16^th November 2024. For further information or to book visit the theatre’s website here.