Review: Guards at the Taj (Orange Tree Theatre)

Review by Rosie Holmes

⭐️⭐️⭐️⭐️

A small venue known for its impressive yet compact staging, The Orange Tree Theatre once again makes an enormous impact with Guards at the Taj, a poignant two-hander set in 1648 imperial India. Directed by Adam Karim, the latest JMK Award winner, this is another powerful, intimate production, delivering on high expectations set by previous winners of the award.

The play follows Humayun and Babur, guards stationed to watch over the newly completed Taj Mahal, forbidden from even glimpsing the structure themselves. The storyline, drawn from folklore, presents a dark yet fascinating order from Emperor Shah Jahan, commanding the amputation of 20,000 artisans' hands to ensure that nothing as beautiful could ever be created again. Through its historical lens, Guards at the Taj holds a startling mirror to today, inviting us to consider the costs of power, beauty, and human compliance.

The performances by Maanuv Thiara (Humayun) and Usaamah Ibraheem Hussain (Babur) breathe life into a friendship that feels universal and relatable, reminiscent of camaraderie found among co-workers in almost any field, from retail to bartending. Yet their easy banter contrasts starkly with the horror of their task, as they stand drenched in blood while discussing trivial inventions and dreams. This grim juxtaposition underscores the devastating impact of their actions and the ways loyalty to authority can require unthinkable sacrifices.

Hussain’s portrayal of Babur is especially touching, starting with boyish innocence that erodes as he confronts the trauma of his actions and questions the limits of individual power. Thiara, as Humayun, is the by-the-book counterpart, driven by duty and paralyzed by fear of speaking out. Though he achieves the reward he’s sought, in the way of a promotion (they get to guard the Emperor’s Hareem!) the weight of his guilt and horror ultimately eclipse any pride he might feel. Both actors create a chemistry that is genuinely endearing, imbuing the production with humour, warmth, and ultimately tragedy as they grapple with friendship amid horror.

Visually, the Orange Tree Theatre’s production design by Roisin Jenner enhances the atmosphere with a haunting beauty. The small, stationary stage becomes increasingly blood-soaked, an unflinching symbol of the emperor’s ruthlessness. Jenner’s lighting is subtle yet impactful, giving an ethereal glow to the platform as Humayun and Babur steal a glimpse of the Taj Mahal, evoking a dreamlike scape for beauty that’s tragically tainted by violence. Director Adam Karim also ensures a large clear up of the stage is not jarring and instead adds to the piece rather than distract from the narrative.

In Guards at the Taj, the most striking moments are often the quietest—simple gestures of friendship, like washing blood from each other’s hands, reveal the beauty and complexity of human relationships. The play’s brilliance lies in these contrasts, weaving together horror, humour, and humanity in ways that make it both timeless and deeply relevant.

I always go to the Orange Tree Theatre, with high expectations after seeing so many brilliant stories performed there. Guards at The Taj only adds to this list, led by two remarkable actors, writer Rajiv Joseph cleverly uses dark humour to explore the beauty of humanity in a story that is on the surface perhaps quite simple but reveals layer after layer to provoke complex questions.

Guards at the Taj plays at Orange Tree Theatre until 16th November 2024, tickets and more information here - Home - Orange Tree Theatre

Photos by Lidia Crisafulli