JADAR

★★★★☆

Frankie Goes to Bollywood is the latest production by Rifco Theatre Company, who make “theatre that celebrate the British South Asian experience”. Poetically named after the groundbreaking British band Frankie Goes to Hollywood, the musical is inspired by real stories of British women caught in the spotlight of the biggest film industry in the world.

Press night kicked off with a sensational pre-show performance in the foyer from Ria Meera Munshi of Ri Ri’s Dance Academy. Ria even pulled a few people from the crowd to show-off their amazing amateur moves.

Frankie Goes to Bollywood is focused on Frankie (a captivating Laila Zaidi), a young British-Indian girl whose mother, or “maa” (the always incredible Helen K Wint), dreamed of being a Bollywood star. The opening is a prologue of sorts, in which we see a young Frankie watch her beloved mother perform a beautiful Bollywood number and go into the movie forever, leaving Frankie alone. It’s an emotional scene, suggesting that Frankie coped with her grief by watching her mother’s favourite movies and, heartbreakingly, imagining her mother was merely in the movies – allowing her to live on forever.

Whilst the opening was sentimental and sweet, I was not immediately drawn in. It was not until we met Frankie’s “cousin-sister”, Goldy (Katie Stasi – get this Queen on Six!), that the energy really picked up. She was a catalyst, of sorts; her energy and enthusiasm were infectious.

Stasi is comedy gold(y) but she also does a fantastic job of showing her jovial character’s insecurities. Whilst Goldi is initially supportive of Frankie “stealing” her dream of being a Bollywood star, Frankie inevitably changes and neglects their friendship, all the whilst Goldi grows more bitter.

Goldi’s main song, which is repeated a few times (including in the curtain call), is incredibly catchy – and arguably the best song in the musical.

Celebrated South Asian singer Navin Kundra makes his acting debut as Frankie’s love interest, Prem, who invites Frankie to star in the new film that he has written. You would never know that this is Kundra’s stage debut – so it is a shame that he does not get more stage time, but he sure makes the most of every minute he has onstage, and Prem develops nicely.

Kundra and fellow British-Indian artist Sonna Rele recorded the beautiful ‘Billion Dollar Love Story’ for the show.

Whilst the musical does not really have an antagonist – it is not restricted by the conventions of Western fiction, including a need for a villain – the smarmy and insufferable Raju King (Shakil Hussain, who chews up the scenery), the “King of Bollywood”, represents many of the industry’s problems – including ageism and sexism, what with his ability to still star in big films whilst women expire in their 30s and 40s.

Raju’s partner, the “Queen of Bollywood”, is Malika, who is also played by Wint – who shows off her versatility as an actress with these two very different roles. She covered female lead Laurey in the reimagined Oklahoma! (“Sexy Oklahoma“) on the West End when I went to review it – but this musical has her singing a very different song…

Malika is icy, especially to Frankie, but it quickly becomes apparent that she knows she will soon be replaced by someone younger. Wint does a wonderful job of making us feel for a character that is initially closed-off and cold. Whilst she could have been written and portrayed as an archetypal ice queen, she is more multifaceted and gradually warms to Frankie. Even at the beginning, she warns Frankie about the industry – though even her warnings tend to come with venom.

When Malika and Frankie first meet, Frankie tells her that she looks so familiar, but this is never again mentioned, rendering it a mere acknowledgement that Maa and Malika are played by the same actress – and perhaps to avoid confusion. But more could have been done with this.

Gigi Zahir – also known as Crayola the Queen – shines as Shona, the choreographer of the film who also works a bunch of other roles, including as a talkshow host. They are like Andy Cohen but bitchier and Indian.

“Whose side are you on?” asks Frankie. “Mine,” they respond.

Their opening number rivals the best-known drag songs. It’s desi-licious!

The epic ensemble is made up of Anna Maria Barber (Dance Captain), Tash Bacarese-Hamilton, Hari Chandresh, Kuldeep Goswami, Nikita Johal (Mandy – Frankie’s loveable assistant), Dhruv Ravi, Qoobi Robinson (Timmy Anand – a rising star who seems to be Bollywood’s answer to Timothée Chalamet), and Tamara Verhoven Clyde. The enthusiasm, energy, skill, and sex appeal of this ensemble deserve great praise. They bring every scene to life.

Robinson, in particular, is quite striking, bringing the tantalising Timmy to life without ever saying a word. He has real presence (and as someone of part Afghan heritage, it’s great to see a British-Afghan bursting on to the scene).

The script is very strong. The concept and book are by Rifco’s Artistic Director, Pravesh Kumar MBE – who also directed the show, with associate direction from Ameet Chana. Dramaturgy is by Carl Miller. The first act can feel a little bit “samey” but the pacing picks up in the second act, especially with the higher number of group numbers – ultimately what anyone going to see a Bollywood musical is wanting to see lots of.

Kumar, Chana, Movement Director Andy Kumar, and Associate Choreographer Nicola Mac make wonderful use of the stage, mastering both intimacy and immensity. The exhilarating dance numbers give Bollywood films a run for their money.

Rebecca Bower’s stunning set is made up of several Indian-style frames, with various backdrops and other accompaniments, transporting the Mancunian audience to Mumbai. Bower’s set is lit beautifully by Philip Gladwell, who captures every emotion and various vibes with his lively lighting.

Kumar, a real-life Shona, is also the Costume Designer – and his costumes are a sight to behold. The warrior dresses towards the end are especially wonderful.

The production as a whole is an Indian spectacle, but never is it fetishistic. It’s clear that the creative team is mostly South Asian because the show, from the story to the set, feels authentically Indian – not just some White person’s romantic interpretation. The show invites us to be spectators to a spectacle, but never are we allowed to voyeur – rather, if we want to witness the wonders of Bollywood, we must also be willing to learn.

The score is spectacular (songs and music are by Niraj Chag, with song and lyrics by Tasha Taylor Johnson), with banging bops and beautiful ballads. Chag and Johnson confidently combine Bollywood, musical theatre, and Western pop, à la Hamilton‘s blend of musical theatre and hip-hop (amongst other African-American genres), Six‘s blend of musical theatre and female-led mainstream music, and 42 Balloons‘ blend of musical theatre and 80s music.

There are even a few songs performed in Hindi. Much of the audience, myself included, had no idea what was being sang, but that doesn’t matter – not when the singing and dancing are so marvellous. Further, in these numbers, stories are told not only through words but also movement and expression.

Some of the lyrics could be tweaked a little but, overall, they’re fantastic.

Chris Murray provides some splendid sound design, which enhances the sensory experience.

The story is a real rollercoaster – it’s Bollywood, darling, of course it is! – with lots of twists and turns. A tribute to Bollywood, it obviously relies on clichés and conventions, but it also does its own thing – and it’s not overly predictable.

Whilst the creatives clearly love Bollywood, it offers not a romantic nor sentimental view of the industry. It does not glamorise, or even dismiss, the industry’s problems. It does a great job of exploring ageism and sexism (and how they intersect) – especially through Malika.

Kumar deserves praise for tackling issues both emotionally and humorously, never taking things too seriously but also not handling them flippantly.

For instance, there is a hilarious scene in which Stasi comes onstage as Raju’s mother, wearing a black wig with a big grey streak – shortly after a conversation in which Frankie is told that soon she could end up playing a 50-year-old man’s mother. South Asians will recognise this casting – in which women who are middle-aged or even younger are cast as elderly mothers, aged with a grey streak – as a convention of South Asian cinema. Stasi literally goes from playing the vivacious Goldy, who dreams of starring in Bollywood films, to playing a middle-aged man’s mother. These little moments, in which the show pokes fun at Bollywood and itself, are quite endearing.

Whilst Frankie is, no doubt, an enjoyable experience for all, its target audience is certainly South Asian. We British-Asians in the audience can surely relate to Frankie struggling with her identity, in which she feels stuck in a liminal space between being British and brown.

I sometimes watch South Asian art and think, “This was not made for me” – and that’s okay because it provides both entertainment and education for White folk – but Frankie aims to entertain South Asians, especially with its satirisation of our beloved Bollywood, whilst also forcing us to reckon with issues in not only the industry but also our wider communities.

Frankie, an orphan, dreams of finding a family in Bollywood, but she soon learns that the nepotistic industry is ruled by a select few families – and she will never be one of them, not even through marriage. Such exclusionary attitudes are not exclusive to Bollywood but also exist in many ordinary South Asian communities and families.

Whilst Frankie is by, for and of South Asians, Kumar makes everything accessible and understandable for Westerners and novices – without being patronising (save for the progressive politics feeling a little preachy at the beginning – it’s great that the play’s politics are established immediately but it might be better to ease the audience into them).

There are some other issues that could be explored, including colourism, but Rifco clearly do not want to overstuff the production. When one tells a story about a marginalised community, they are often expected to tackle every single issue, but it is impossible to explore everything – and nobody could do them justice in a 2.5 hour musical comedy. Rifco are careful not to bite off more than they can chew. The story is a real rollercoaster – like a Bollywood movie! – but it never feels like too much. The balancing is perfect. The show gives you so much that you are left not wanting more but content that you have had the time of your life.

Kumar states that Frankie Goes to Bollywood is an ode to the “masala film” – a film that is seasoned with a dash of everything, paying homage to a diverse cultural tapestry. Frankie celebrates Bollywood whilst also interrogating it.

Frankie Goes to Bollywood runs at Home (Theatre 1) until May 25 and tours the UK until August 18, ending with a London run at the Southbank Centre (Queen Elizabeth Hall) from July 31 to August 18.

Photo: Rich Lakos