Indian Embrace

Indian Embrace is a complex mixture of messages about family, friends and cross-cultural relationships. There are some moments that are very moving and some that are very funny, and some characters that are well drawn and sensitively portrayed. But because the play tries to comment on so many aspects of relationships and culture, the resolution of the many complications makes the second act a little too long and much too laboured.

The plot revolves around three estranged and very disparate Australian siblings - a trouble shooting aid worker, an ambitious corporate business woman and a stereotypical Aussie-bloke-overseas – who meet in a guest house in the busy Indian city of Varanasi. Here, an Indian father tries desperately to maintain the dignity of family and heritage whilst his daughter-in-law longs to emigrate to Australia. As the two families meet, the differences in culture, background and aspirations emerge.

The simple but effective set is enhanced by images of Varanasi that are projected on to fabric mats that hang above and behind the stage. These transport the audience into that bustling city and the busy banks of the River Ganges. In one well-directed scene, the three Australians sit with the audience as if at the Ganges, whilst John, the elder brother, sensitively describes the cremation that is being screened on the set.

Moments like this, and the short but very vivid and funny depiction of pushy vendors in a bazaar, are welcome distractions from the siblings’ arguments, some of which unnecessarily labour the differences that have already been established. Steven Menteith (John) and Lucy Rasheed (Pamela) work hard at establishing their rocky relationship, but often the tempo is neither fast enough nor strong enough to be really plausible. The less pushy character of Chris, the younger brother, played by James Herrington is a little overdone, a little too Ocker.

The Indian family, on the other hand, is sensitively and poignantly portrayed. Shashidhar Dandekar brings depth and belief to the character of Vikram, retired army officer who has turned his family home into a guest house in an effort to retain the last vestiges of a long heritage. Dandekar’s depiction of Vikram is restrained, contained, with an underlying sadness that is revealed in a very moving, well-written and beautifully timed monologue in the second act.

The character of Roopa, his rebellious daughter-in-law, is equally well-drawn, and played with charming appeal by Ambika Asthana, who is totally convincing in this role. She has an engaging stage presence backed by clear characterisation and good comedic timing.

Similar, and very professional, comedic timing is displayed by Neel Banerjee in his depiction of the stereotypical, yet totally engaging character, Sanjay, the dodgy business manager setting up Pamela’s call centre. Banerjee’s wide theatrical experience is evident in his timing, pace and the lift he brings to the production.

Director Lenore Robertson and her creative team have brought a real feeling of India to the theatre for this production, and though the play itself is somewhat over-written and the final monologue a little trite (and probably unnecessary), it was well-received and clearly appreciated by the opening night audience.

Carol Wimmer

Photographer: Chris Lundie