Adeel Akhtar has become a giant of the stage in a few recent fell swoops, it seems. Certainly his creepingly explosive turn in Shaan Sahota’s debut drama is unmissable. It carries this first play, almost eclipsing its imperfections.
Better known for his screen work, he shone darkly in Benedict Andrews’ The Cherry Orchard last year as Chekhov’s peasant-stock merchant with a chip on his shoulder, Lopakhin. Angad, a British-Sikh politician hungry for the top job, is a self-made man too, or so he insists, even if he went to Harrow and Oxford: he calls himself the son of an immigrant baggage handler although his father went on to become a property magnate (and slum landlord, it is suggested) before his unexpected death.
