Irvine Iqbal, Jen Pandya and Ashley Day shine in this colourful re-telling of a Bollywood classic, ensuring audience members at the Manchester Opera House receive an unforgettable night of pure entertainment.
By Hamza Jahanzeb
11 June 2025
When it was announced that the Bollywood movie – DDLJ, abbreviated for Dilwale Dulhania Le Jayenge – I was most excited. It was a show that originally went to San Diego’s Old Globe where it was lauded and had its world premiere. In this re-invention, Jena Pandya (Mamma Mia!, Bhangra Nation) and Ashley Day (Netflix’s Dynasty, An American in Paris) bring the love story between Simran – a young British woman whose future is all set with an arranged marriage back in India -with party-lover Rog. But, as she sets off around Europe for one last summer of freedom, she soon finds herself stranded with laid-back and cocky Roger. Now – with their cultures colliding – the unlikely pair find that falling in love is just a passport to even more trouble (and possibly happiness?).
A score that retains elements of the original, combined with soaring new English songs by legendary composers Vishal and Sheykhar, the show will move you from your seat to Paris, Rome and the memorable mustard fields of the Punjab.
Stories are re-invented and should be especially given it has now been over thirty years since the original Yash Raj source material wowed audiences on screens globally. This is not an exact copy, but the heart of the story remains as the team transcend locations semalessly: one moment you’re boarding a train, he next you’re in a hotel room where comedy ensues and then you’re at the heart of the shaadi in Punjab.
The original writer and director (Aditya Chopra) had initially written the part of the ‘Rog’ as white character. So, let me make this very clear for anyone dripping in the ‘Brown Sauce’ and need their heads to be given a wobble, I’d heartily recommend a watch instead of having internalised gossip with your uncles and aunties. Bas. The sheer misreporting from British South Asian press and so-called community members is bleakly unimpressive, and we need to leave that behaviour from ‘supposed elders ‘in the last century. It’s sadly even more unfortunate that it is our own community showing how disgraceful they are in tearing each other down, when in fact the arrival of a stunning show luke Come Fall in Love is ought to be a collecticw momentous occasion for representation and re-inventing timeless classics for the stage. I’m very excited to see what the producers will bring next to the stage: there’s quite the catalogue, and I know what I’d like!
Moving on to the elements of the actual work for the most part on the stage. It has to be said, the set design is magnificent. The arches of St. Pancras station, to the Taj Mahal-esque pillars, the attention to detail is really on point. Combine two leading starts in Jen Pandya (Simran) and Ashley Day (Rog), and this is a smash-hit ready for the West End with only a few tweaks. Adding in the lighting design, which at times accentuated the holi powder – and made me really appreciate the cover art when the powder forms a heart.
Superb performances from Irvine Iqbal and Harveen Neary-Mann need to be noted. The times they are on the stage for solo moments, it’s a joyous occasion where you’re captivated by their gravitas; and to hear ‘Kabhie Kabhie’ on a stage was not something I’d ever get to witness. The cast’s dialect coach Gurkiran Kaur did a stellar job to make sure the cast pronounced the Hindi and Punjabi words. The dancing was excellent for the most part, but some dance scenes needed a little more slickening – but the overall effect was noticeably impressive.
Additionally, Nell Benjamin’s book provides some good insights and writing. At times, it did need a bit of tightening in first act, but the second act’s feel-good moments were to make up for the former act in need of an edit. The direction is mostly there, and I do wonder if the revolve staging would have emphasised the action. What we were given was satisfactory, but could well have been elevated.
Do not miss this show and celebrate a team of hard-working cast members and crew whose story of love will bring you joy to you and your loved ones this summer. I was in awe by the bright and the humour-filled moments; my jaw dropped at how much fun I had in the audience. I left the theatre singing ‘Luh-luh-luh-luhhv’ repeatedly. The show’s titular song ‘Come Fall in Love’ is now firmly planted in my brain and has altered my brain chemicals for the better. It has heart, humour, love and total escapism.
To have had the Bollywood Musical duo Vishal-Shekhar work on this was truly a smart move: it retains the huge score, but a new musical theatre sound is born.
Until 21 June only:
https://comefallinlovemusical.com/
** N.B. this production and its ticket were gifted to the writer, in exchange for an honest review with no editorial control beyond what the critic themselves first witnessed at a press performance of the show described above **
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