Review: GAUHAR JAAN - THE DATIA INCIDENT, Omnibus Theatre

Incense fills the air and suddenly we're in India, under the British Raj's system of imperialism delivered alongside largely autonomous Maharajas (local kings), the old ruling Mughals (and the long all-powerful East India Company) seen off by the First War of Independence in 1857. Full independence and partition is still two generations in the future and India is opening up to the technology of the shiny new 20th century.

An American arrives in Calcutta seeking to record (on a new fangle gramophone) India's most celebrated singer, one Gauhar Jaan, but everyone he meets brings up the infamous "Datia Incident" and, as is the way in India, they all have a different tale to tell about it.

There's much to admire in Mukul and Ghetto Tiger's show - and much that needs significant work if this production (which does feel more like a work-in-progress than a fully realised play) is to reach its potential.

Gauhar Jaan is a compelling presence, brought to life with signature disdainful hauteur by the impressive Sheetal Kapoor. The accompanying exhibition in the theatre bar shows us a woman of icy stares and almost regal preesence and Kapoor pulls of the unenviable job of bringing her to life on stage minutes after we leave the room with walls adorned with Jaan's image. And if Kapoor is a little more Bollywood beautiful than the somewhat severe Jaan herself, well, the play is a re-imagining rather than a reconstruction, so that can pass.

Bollywood makes another welcome appearance in the splendid dance routines (choreographed by Arunima Kumar) that punctuate the action, feet stamping, bells jingling and hips swaying - an important plot point, I promise you! With saris blazing colour and jewels glinting in the subcontinental sun, it's literally a sight for sore eyes after the diesel of Clapham Old Town's bus terminal outside.

That said, the play is let down by its storytelling. Tasun Jasani is a first-time playwright and he's caught himself a wonderful subject, but we never really get to know her. The three accounts of the "Incident" are not made distinct enough, so the same characters are given different personalities and motives in each version. Important questions (Was the Maharaja sexually abused as a child? What is the status of a courtesan / singer in this palace? What happened to the recordings?) come and go like chai in the afternoon. It's all a bit foggy and unsatisfactory.

Bizarrely, the grainy photos tell us more about the Delhi diva than 90 minutes or so of drama, ending abruptly with the a scratchy 78rpm record that gives us some inkling of what the fuss was about. Nobody was sure if that was the end of the play or not - a surefire indication that the narrative needs sharper focus.

There's a wonderful play buried beneath the confusion (and, perhaps, an even better biopic) but it's still quite a long way off. Ms Jaan deserves better and so do the many individuals and groups who have contributed so much to this fascinating, if flawed, project.

Gauhar Jann - The Datia Incident continues at the Omnibus Theatre until 29 April.

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