Tara Theatre’s vision to provide rehearsal space and financial support for 18-25-year-olds to script and develop new theatre is commendable. Over a 4-month programme, the young company works with industry professionals to develop their skills and build their professional networks. The culmination of this mentorship has resulted in the play, ‘A Practical Guide on How to Save the World when no one f***ing else is’. The vision of artistic director, Natasha Kathi-Chandra is to ‘uncover the urgent and current realities of those around you’. Over five weeks, the young team directed by Gavin Joseph rehearsed with provocations around the theme of ‘Climate change’. Each actor formed characters through devising exercises, and conversation prompts. Between sessions, playwright Nicole Latchana wrote scenes in response to what emerged. The process was adaptive and responsive to the team’s realities, and exposure and hence also uncovered their blind spots and biases. For example, one wonders, ‘Why moving to Croydon away from Hackney is considered a poor choice’. It is mentioned twice in the play.
The play is set in the intricacies of building community among young people. We don’t have any context of what brought them together. I struggled with not knowing enough about their wants, personal politics, and assertions as the events unfolded. We recognize the archetypes of the artist, the burnt-out social activist, the panic attacks from consuming information online, the parent protesting for a better future for their child, the bright-eyed food bank organizer, the guilt of providing labour to capitalists who are causing harm and heralding quicker climate change. The usual suspects of Shell, amazon, Nationality and Borders Act that weigh on activists are named. They also emphasize the various facets of showing up as an activist. The young activist who is consumed with not doing enough but confused with finding their way is essayed poignantly by Usmaan Khan. His relationship with his sibling Ayman, played by Adil Rehman centres how siblings nurture one another.
The 100-seater theatre is running sold-out shows of this production testament to the curiosity the public has to listen to south Asian voices and to reflect on the histories of Criminal violence imperialism has chained us with. The question is, Can we make a play about climate change without reflecting on the Nomadic pastoralist tribes who have been declared criminal by the British Government and continued to be surveilled in present times? As I watched Gurjot Dhaliwal’s character Gagan fall into the nexus of cryptocurrency, bulimia it made me think of Vijeta Kumar’s article, ‘I can’t be depressed I am Dalit’ . The friendship between her and character Kemi played by honestly by Tinuola Ibrahim offer grounding in the play. However, I felt the premise of the play was a commentary from the sidelines. Also, why must the black woman carry the unequal weight of care and organizing for the entire community?
The team of actors are sincere and talented. Each of them brings alive the characters that are relatable and familiar to savarna young adults who stand on the shoulders of generations who have fought for respect, dignity and equal rights. The question we need to ask as a diaspora standing on the mountain of privilege is how do we deepen our knowledge and use better judgement to do justice to reflect honestly on our times? Whose stories have been hidden in plain sight and pushed to the background to make space for our complacent obedience to the powers. For example, in the South Asian context is it fair to equate class but not mention caste. Would India have got independence if it was not for those who took up arms and fought for it? How do we pressure and topple systems of oppression that have for three centuries now pointed arms at peaceful protestors?
As audiences and critics, we celebrate young South Asians also having fun, making mistakes and creating theatre for themselves. One is overjoyed to witness their family and friends revel in how proud they are of the accomplishment of a young brown director, an entire team of people of colour leading on stage. We, however, then need to reflect on the tribal, trans women, Muslim and Dalit communities who are losing lives and livelihood with our apathy. Because power operates in intersectional ways and whose lives are being irrevocably wiped out in the past and present while we tend to our own seeds and comfort.
It is Dalit History month and one of the leading South Asian theatres in the country has no mention of it. I would like to leave the team with Baba Saheb Ambedkar’s words, ‘take refuge in your own reason. Do not listen to the advice of others. Do not succumb to others. Be truthful and take refuge in the truth. Never surrender to anything.’
Links
1. Settled Habits New Tricks https://longreads.tni.org/stateofpower/settled-habits-new-tricks-casteist-policing-meets-big-tech-in-india
2. I can’t be Depressed I am dalit https://thelifeofscience.com/2019/10/10/i-cant-be-depressed-i-am-dalit/
3. The article is grateful for the research of R Talitha Samuel’s Clear Blue Skies podcast – Dalit Feminist Futues https://podcasts.apple.com/gb/podcast/clear-blue-skies-productions/id1550915039?i=1000549633909
Reviewer: Anisha Pucadyil
Reviewed: 17th April 2025
North West End UK Rating: