Review by Daz Gale
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While National Theatre have treated us to some fantastic shows in their 3 spaces so far this year, it is the Dorfman Theatre that has proved the most exciting (for this reviewer at least), with Till The Stars Come Down and The Hot Wing King two of my personal favourite plays of the year. Their latest play to take up residence in that brilliantly versatile and impressive space is A Tupperware Of Ashes. With this one, will they be able to make it a hat trick?
The world premiere of Tanika Gupta’s new play focuses on the Mukherjee family, predominantly its powerful matriarch, Queenie (Meera Syal). An ambitious Michelin-Star chef who forms the heart of her family. Her varying relationships with her three children are put to the test after they find themselves concerned about her memory and ability to grip on reality. A diagnosis confirms their worst fears and as they attempt to fulfil their duty to look after their deteriorating mother, they have to make some tough, life-altering decisions and live with the repercussions of those choices.
If that sounds quite heavy going in terms of a plot, you would be right. There is obviously a lot more to it than that but I won’t give everything away, as A Tupperware Of Ashes should be experienced knowing as little as possible, to get the maximum impact. Tanika Gupta’s writing here is nothing short of remarkable with dialogue so rich and layered, it continuously leaves you hooked on every single word. Well thought-out characters and a situation approached with sensitivity, its ability to connect with its audience no matter how much they can relate to differing aspects of the story is unrivalled.
With themes of immigration and the Indian spiritual cycle of death and rebirth, it puts an intriguing light on one part of the story which is very much open to interpretation on whether this is part of Queenie’s illness or her ability to witness a spiritual plane. I may not be religious myself but I found this incredibly moving and so beautifully realised.
I always say theatre at its best can make you feel – the shows I love the most are the ones that penetrate my heart and make it feel any kind of emotion. A Tupperware Of Ashes does this better than most shows I have seen. There have only been a handful of shows I have seen that left me so choked up by the end of act one, I struggled to speak in the interval (a blessing for those around me) – this happened to me with this show. I was so overcome by the first act, I experienced some trepidation for the second act as I knew it was going to destroy me emotionally… in the best possible way. I was, of course, right, and spent the tube journey home trying to keep my composure so profoundly affected by the spectacular piece of theatre I had just witnessed.
What is especially remarkable about Gupta’s writing is in how versatile it is. There are some incredibly funny moments in the show that had me roaring with laughter, including an unexpected but hilarious use of a certain four letter word (though the next time you hear that word is far less funny). The humour never detracts from the seriousness of the story, but humanity at its heart is about laughing and crying, and A Tupperware Of Ashes makes you do both, often within an instant of each other. That statement isn’t an exaggeration – there was one moment that had me choking back tears with a lump in my throat… and then bursting out with laughter literally one second later. I have never experienced one person’s ability to control emotions so effortlessly as Tanika Gupta has here. Incredibly moving and powerful, this is one of the best written plays I have seen in a very long time.
Pooja Ghai’s direction is consistently inspiring throughout the play, finding ways to bring Tanika Gupta’s writing to life in the most powerful of ways through no shortage of creation and care. Rosa Maggiora’s exquisite set design reveals itself in unexpected ways, coming alive with a gorgeous use of Matt Haskins’ lighting and Anjali Mehra’s stunningly emotive movement – subtle yet sensational. Elena Pena’s atmospheric sound design is used in genius ways to accentuate various elements of Queenie’s’ descent, brilliantly balancing the reality with what she is seeing with composer Nitin Sawhney ensuring music is prominent throughout, whether in the background or even an unexpected musical moment. Also look out for the completely surprising inclusion of a certain cheesy pop song… 2 in fact! With all creative elements coming together with one clear vision, the result is a faultless and breath-taking piece of theatre.
A special mention has to go to John Bulleid’s illusions – a surprising aspect of the story that provides an extra layer to an already incredible production, genuinely shocking and delighting me with the sudden appearances and disappearances of items and transformations elsewhere. A Tupperware Of Ashes is one show where blinking is not advised for fear of missing something extraordinary.
The cast in A Tupperware Of Ashes have their work cut out for them with writing as deeply emotional as this, but they more than rise to the occasion, all impressing with faultless performances. Raj Bajaj, Natalie Dew and Marc Elliot play the three adult children Raj, Kamala and Gopal, all providing differing dynamics in their relationship with their mother and to each other. They each give believable performances, channelling every conflicting emotion they have for the situation they are facing and perfectly blending the mix of comedy and tragedy in this heart-breaking drama.
Shobna Gulati gives a commanding turn as Queenie’s friend Indrani, showcasing her versatility in a larger-than-life performance that is full of heart and humour. Stephen Fewell threatens to steal scenes in a variety of roles, making the biggest impression as the kind-hearted Pavel, whose eyes say more than his words ever can, while Avita Jay impresses with an astonishing number of roles, particularly shining as Jamila, and a Bureacrat you love to hate. Zubin Varla is an absolute standout as Queenie’s late husband Ameet. Never letting death stand in the way of his stage presence, he may be in a different world to the others but he is more than content doing his own thing, bringing a glorious element to the show and always delighting with his sensational abilities as an actor.
There is one cast member I haven’t mentioned yet and for very good reason. What Meera Syal does on that stage as Queenie is beyond words – perhaps not a great thing to say for a reviewer, but words really could never do this performance justice. Queenie is a loud and proud woman, whose health problems change everything she holds dear and who she is entirely, This has to be one of the most difficult characters ever portrayed on the stage, almost impossible to do convincingly enough to do justice to. Meera Syal does this with ease, giving the performance of a lifetime... quite literally.
Perfectly capturing every differing element of the character, Syal has the unenviable task of demonstrating confusion and lucidity, often in the matter of moments, Her ability to navigate this character with such authenticity is not only a testament to her own abilities as an actor but the very art of acting itself. Brilliantly cutting with her one-liners, she has the ability to make you laugh with her comedic abilities then wince at the chilling cruelty she displays at other moments. Whether she is shouting at her children or struggling to get her words out later on, Syal delivers a performance that demands to be seen and dares you to take your eyes off of her even for the briefest of seconds – surely an impossible task. There are certain performances you see in your life that will stay with you forever – Meera Syal as Queenie is one of them. One of the single best performances I have ever witnessed, Syal deserves every award going for this enthralling and meaningful portrayal.
When I look back at the year so far, I really feel that 2024 has been a stunning year for plays, with some truly outstanding productions opening in the West End – A Tupperware Of Ashes is one of the very best of these. I went in to this play not knowing much about it at all - It captured my attention in the very first moment and had me falling in love with the family – once the main plot revealed itself, this captivated me in a way few shows have managed to do. The ability to truly break down walls and penetrate your heart and soul completely encapsulates the very best of theatre, and that really is what this show is. Phenomenal writing, direction and staging, paired with one of the greatest performances you will see on a stage this year, A Tupperware Of Ashes is exceptional on every front.
Without a shadow of a doubt, the best play National Theatre have staged this year and a true testament to the power of theatre. Powerful, poignant and vital, this is one play I would encourage everybody to see if they get the chance.
A Tupperware Of Ashes plays at the Dorfman Theatre until 16th November. Tickets from www.nationaltheatre.org.uk
Photos by Manuel Harlan
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