Are You Even Indian? ****

Identity sits at the heart of this impressive Brighton Fringe debut Are You Even Indian?

In the aftermath of World War II, the UK was crying out for a population boost to help to rebuild the nation. Tens of thousands from the Indian subcontinent answered the call; today some 5m people in the UK can trace their heritage to the region.

This production introduces a woman (Neetika Knight) and a man (Mohit Mathur), charting the trajectory of their relationship, from tentative dating through to parenthood. The woman is British born, as were her parents; yet the question “where are you from?” carries a sting. He is an Indian-born engineer, who has moved to the UK in pursuit of opportunity, paying significant fees in the process. He is keen to put down roots in the UK, partly fearing that a return to India would carry the stigma of perceived failure.

Their desired modest wedding is at odds with familial expectations; the spectacular dance routine, rooted in their cultural heritage, indicates that they found this pressure inescapable.

The arrival of their baby proves the catalyst for a fracture in their domestic harmony. The woman’s memories of isolation and denigration resurface; she does not want her own child to endure similar experiences. Against the backdrop of a palpable shift in the English political landscape, she concludes that she wants to move. But will he agree and where could they really belong?

The production is a fusion of storytelling, comedy, dance, physical theatre and dramatic theatre, swirling together beautifully. A length of vivid red material becomes a recurring visual motif, threaded through scenes and used as a narrational anchor, as they speak their truths tautly holding it. Mathur’s performance displays a range of abilities – vulnerability and swagger. Similarly Knight, whose expressive and graceful movements were a particular highlight. The production could use a minor tightening of the script, but the performances, the fine choreography and Leigh Toney’s tight direction combine for a quite excellent and nuanced production.

While they have shared cultural identity, the subtle differences between them quickly emerge. But what binds them is the feeling of existing between identities - neither fully British nor Indian. Their desire to assimilate into British society is juxtaposed by the feeling of being “insufficiently Indian”; they feel different shades of displacement.

The piece shines a light on the struggle of the diaspora, subject to discrimination, slurs and marginalisation, “which cricket team do you support?” being a weaponised manifestation. It is noted that the characters are unnamed – a deliberate choice suggesting the fluidity and complexity of identity itself.

“India was never just a place on a map” – this thoughtful and resonant production shows just how deeply its cultural legacy continues to shape lives far beyond its borders.