Rafta Rafta - The Lowry - 19/02/08 by Kashif Naveed

Ayub Khan Din has a knack for all thing north of the Watford Gap. After all he has walked its most famous cobbled stones with a stint in Coronation Street and his smash-hit-play-then-turned-into-smash-hit-film, East is East, is set on the streets of Salford. His latest venture - Rafta Rafta - is no different, with the setting taking place in Bolton as Khan Din takes inspiration from Bill Naughton’s All In Good Time and gives it a whole new Indian translation.

When Khan Din's reinterpretation of Naughton’s celebrated work first premiered it won rave reviews in the west end and so it comes to the Lowry with high expectations, not only from those that are attending but from those that also seek to create a vehicle for more minorities from the sub-continent to attend theatre.

Iqbal Khan, who is currently in charge of directing the play, was stoical prior to its present run at the Lowry: “I think Asian audiences tend to go and see plays with comedy, or an element of dance and music, and these tend to be put in smaller studio rooms. Shows that happen in the main house don’t tend to hit very well with Asian audiences, which is where this show is different”.

Khan could not be more right. For there were several Asians in the audiences that you would not expect (I would know dear reader given the lack of my Asian brethren that I encounter on my travails within theatreland) and which seemed to have completely reveled in the production.

Yet the secret does not lie in its typical Asian storyline but the fact that its themes can be related to all and sundry. Rafta Rafta takes elements from Naughton’s tale of a newlywed couple and their inability to consummate their marriage and applies a healthy dose of Indian flavour and all the spices it brings with it. Indeed, East is East, proved a crossover cultural hit, and in a similar vein Rafta Rafta hits all the same notes. Of course it wouldn’t be Indian without a bit of melodrama, or a bit of dance or a bit music and all three are inherently present within the show.

Moreover, this is a production that has created a total theatre experience that sometimes the non average theatregoer may not be privy to. It is not just a very good script from Khan Din that sets this apart. The set from Tim Hatley is intuitively thought out and adds to the plot that slowly embroils in front of you. Equally matched is that of lighting designer, Hugh Vanstone, whose clever use of light allows the story to unfold with relative little interruption to the audience.

And there is also the script, which is delightful in showcasing the foibles one could expect from a typical Indian family. Khan Din captures splendidly the nuances and caveats of a normal family brimming full of neuroses.

However, what transports this from a an enjoyable gentle comedy into an excellent production is the calibre of the cast and their performances. If special mention has to be given then it is to the commanding central figures of Harish Patel and Pooja Ghai. Harish plays the patriarch of the groom’s family, adding a depth to his performance that swings from wonderful comedic moments that have the audience laughing in the aisles to tender instances that deeply touch those that are watching.

Furthermore, the chemistry between him and his onstage wife is also in no small measure responsible for making this production highly memorable, for which Pooja Bhai deserves a share of the plaudits. Whether you are Asian or non Asian there is something that is appealing about Rafta, Rafta, one that will make you laugh one minute, and cry the next.