Little Theatre Leicester – until 13th September 2025
Reviewed by Amarjeet Singh
2**
The Best Exotic Marigold Hotel is based on Deborah Moggach’s best-selling novel, ‘These Foolish Things’, which went on to inspire the 2011 hit film. The story centers around seven elderly British retirees who leave their old lives behind to move to India for a better life. They all have a different story which is slowly revealed, enabling us to understand their journey. In India we find the hotel is not quite as its being marketed. More dilapidated than deluxe, it’s run by a recently bereaved mother and her haphazard son. The idea of the family home being saved by transforming it into a hotel is a counter to an arranged marriage for money. Every resident and guest are invested in its success for the sake of their future.
Let’s start with the positives. A major commendation must be given to scenic design by Phil Newman for the elaborate, impressive and highly realistic stage setting of the Marigold Hotel. It is intricate, multi-level, with clever details such as a wobbly sign which often needed straightening and a periodically crumbling ceiling which would drop rubble unexpectedly. You fully believe that you are in sunny southern India.
This rendition, by director Lynn Moore is puzzling. Citing Leicester’s diversity and a desire to widen its theaters appeal to mixed heritage communities, the inaccuracies in some of the cultural references and reinforcements to tired tropes is disappointing. This could have been an opportunity to revamp the tired, outdated and in some places, offensive text, but is instead just a series of staccato stereotypes. Why would the call center need newspapers to learn about Britishness? Why would the Islamic call to prayer be played regularly in the predominantly Hindu city of Bengaluru? There were other concerns. Had diversity not solely been on the stage but been an integral part of production it would have lifted and enhanced the show, making it a true piece of cultural co-creation.
In a play which relies heavily on exposition, telling me rather than showing me, characterisation and the building of relationships is everything. We hear a lot about people going to temples, exploring, and having street food. We hear about what happened to the older people and their lives back home, but we don’t see it. The connections between the characters during these retellings are crucial. Unfortunately, these connections don’t feel authentic or offer warmth. Madge (Helen Gronhaug) is haughty and cold, her quips are snide and fall flat. Douglas’ (Richard Hill) speedy hop from one lady to another when things become difficult is weird. Evelyn’s development from shy mouse to empowered woman is hard to ascertain as her mannerisms don’t change. With a quick Clark Kent disappearing of glasses we are led to believe she has gained confidence. Dorothy, (Katy Weaver) seems very sprightly for a lady as old as the doddery servant. Her scenes with Jimmy (Raj Brahmbhatt) are quite disjointed. Jimmy was great as the Indian servant. The relationship between Muriel (Trish Kenyon) and Tikal (Yasin Mohammed) is baffling. Described as an ‘untouchable’ he is crammed on to the small veranda with her during their scenes together, with no fear of touching or mixing. There is zero connection between the two, even during moments which felt essential to Muriel’s development, it comes across as joke like. Yasin Mohammed also plays Mohan a Call center worker; there was no differentiation between the two characters. Tejal Purohit as the second call center worker is a delight. Norman (Carolos Dandolo) is a lecherous, bigot whose jokes are offensive and offer some awkward humour. Muriel also holds some bigoted views. The play touches on challenging topics such as the differences in cultures, food, the Hindu caste system, and the legacy of colonialism. Muriel finds some reparation through her relationship with Tikal. Norman’s racist, homophobic and perverted views are left in the ether. Again, had there been some amendments to the text, it would have enabled the piece to make more sense and the characters less one dimensional. Nisha Vegad as Sahani and Bhav Bhella were a lovely Sonny and Sahani, but their relationship was secondary to the other characters and again was cartoonish, with zero depth. Nikhil Raja as Mr Gupta and Sadhu plays his roles well, with very individual styles.
Rachel Draper as Jean and Ketna Butrón as Mrs Kapoor are sensational. Draper conveys the vitriol of a woman scorned well. It would have been easy to give Jean one dimension, but for a moment we get a glimpse of how difficult it must be for her to be in the relationship. Her nuanced performance made the production palpable. Butrón is an utter delight, navigating every emotion of her character with aplomb. She fully embraces what this woman must have felt with every experience she has been through, not once giving into histrionics. Her subtle strength is a joy to behold.
Ultimately, every member of the cast did the best they could with what they were given. There are some questionable production choices, but the biggest question is why someone would want to put on this production in its original format.
In this adaptation relationships are not believable. It tries to pack too much plot into an oddly structured play which results in a shallow and unsatisfying piece of drama.