Review: THE FATHER AND THE ASSASSIN, National Theatre

First opening in 2022, Anupama Chandrasekhar's (When the Crows Visit) debut play for The National Theatre, The Father and The Assassin . One of India’s most prominent and taboo-busting playwrights, her historical epic returns to the Olivier stage, now with Olivier winner Hiran Abeysekera (Life Of Pi) taking over as the titular assassin.

How could someone be capable of murder? Chandrasekhar’s script ponders this question in her exploration of Narutham Godse, the man who killed the father of the nation Mahatma Gandhi. Once a loyal follower to his Bapu, Godse’s 30-year journey explores his descent into Hindu extremism as India fights for its long and complex path to independence.

Perhaps it was a risk staging a play that calls out Britain’s colonisation of India on The National Theatre’s largest stage not once but twice, but Chandrasekhar’s gripping yet darkly humorous script doesn’t trivialise this significant era in political history still felt in today’s increasing divide.

Part historical epic combined with dramatic fiction, Chandrasekhar uses Godse’s lesser known life story as a character study exploring how political extremism can corrupt the most loyal of individuals. Fantastically handled in the hands of director Indhu Rubasingham (Kerry Jackson), he finds a balance between the facts of history with the personal character arcs weaved in the narrative.

An epic story needing epic visuals, Rajha Shakiry’s set design and Olivier Fenwick’s lighting design perfectly fit the Olivier stage’s grand scale. Backdropped by weavings of thread made from homespun fabric, some of the most dramatic and gut-punching scenes are when the 19-strong ensemble appear together, including the 1930 Salt March and the horrors of partition. Add in Siddhartha Khosla’s (Only Murders in The Building) score, the play creates a near cinematic atmosphere.

Strutting onstage in a blood-covered shirt with an impish grin, Hiran Abeysekera grips the audience as soon as appears as Narutham Godse. Self-aggrandising and filled with bravado, Abeysekera makes the hefty task of making a murderer appear sympathetic easy as he desperately tries to control the narrative. There’s also exploration into his unconventional childhood growing up as a girl (his parents lost three infant sons while their daughter survived) and treated as a seer of the goddess Durga. Once Godse rebels his parents, he becomes a blank slate capable of anything, with his beliefs only challenged by childhood friend Vimala, passionately played by Aysha Kala.

Another winning performance comes from Paul Bazeley (Cruella) as Mahatma Gandhi, a more humble take on the father of free India who believes in a more secular and inclusive society, a stark contrast to fascistic Hindu nationalist Vinayak Savarkar, played with great intimidation by Tony Jayawardena.

Part meta-commentary, part historical epic, part character study, The Father and the Assassin should be seen as a definitive take on a moment in Indian and Pakistani politics that can still be felt today. With a dynamic leading performance by Hiran Abeysekara and a bold script by Anupama Chandrasekhar, this gripping drama is a must-watch on par with the likes of War Horse.

The Father and the Assassin is at the Olivier Theatre until 14 October

Photo Credit: Marc Brenner

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