A Taste for Mangoes

Reviewed by Ajay Pamneja
While performing at Wilton's Music Hall, London (Nov-Dec 2003)

This new offering from Tara Arts, reputed for its colourful historical representations of India, is typical of the well-known production style. Inspired by a 19th century painting, this play has been a year in the making.

Set in the grandeur of 1820s India and staged in an equally celebrated and grand Wilton's Music Hall this play is a feast for the eyes. The play tells the story of ‘White Moghuls’ in India and in particular that of Sir David Ochterlony. The play not only manages to acquaint us with a little known chapter in India’s history but also vividly paints a picture of the grandiose life-style enjoyed by the early East India Company representatives in the Moghul palaces and how some of them got so assimilated into the culture that they preferred to stay on and die in their adopted country.

Sir David Ochterlony, born in Boston, Massachusetts and with ancestry from Angusshire (Scotland) was appointed as the First British resident in a moghul court. The play tells the story of how he fell for the love of a native Mubarak ul-Nissa Begum and married her and adopted the ostentatious life-style of palaces, servants, dancing girls, silk and mangoes. The mango is representative of the luscious and ripe offerings to ‘Sir David’ and his insatiable desire for more of this, which resulted in his reputed 13 wives while in India.

Sir David Ocherlony is the central character played by Gerard Murphy with his large stature and perfectly suited too. He certainly brings colour to the character and the delivery. The other stars in the play are ‘the artist’ played by Ashvin Joshi, ‘begum’ played by Soni Razdan and ‘the musician’ V Chandran. Soni delivers a perfect performance and has adopted to the British stage with ease following on from her theatre and Bollywood career in India. Ashvin with his expressions and convincing delivery of the character could not have been bettered by anyone. The musician shows his talent by playing several instruments during the play including string, wind and percussion instruments and not forgetting his vocals. What a feat!

The play centres around the creation of this masterpiece painting by the royal artist of Sir Ochterlony enjoying the naatch (dance performance) by the royal dancers surrounded by his courtiers, servants and officers. The artist so much brings the flavours of India into the ingredients for his picture. The nostalgic references to the colours, spices, seasons and rural life of India certainly are a feat in theatre writing and have worked so well for the play. The core song and dance sequence with references to the many varieties of mangoes is certainly a feast to watch with the lively Ashvin and Koel.

Slightly confused by the style of presentation though. At times epic, at times slapstick especially with the character of Vizier (the court advisor), the play left many unanswered questions about the inspiration behind creating the characters and why so many styles? Before the play, the characters were mingling in with the audiences which did not seem right in such a historical play. Bollywood posters, albeit from the early days of Bollywood and the fusion club music which started playing soon after the play ended left me a little puzzled as to what the intended artistic style of the presentation was.

Nevertheless, the play served its purpose and adds another layer to the mysticism of India for a westerner who wishes to ‘one day visit the majestic land that is India’.