The plight of regional British Muslims studying at university in the capital is charmingly portrayed in Suhaiymah Manzoor-Khan’s politically charged rom-com.
Bathed in a deep blue light, audiences enter a Kiln Theatre blasting out music fellow Muslims would recognise: the humble naat. Almost immediately there’s a wide grin on my face as I find my seat in the Kiln Theatre auditorium. I see a show that I believe will speak to me. And speak to me, it truly does. Firstly, as someone who is not only of Muslim heritage, but also Potohari (Pahari / Pothwari) – shout out to those who have family roots in Matore village of the Potohar Plateau – it feels so right that this play exists, and for me to have seen this kind of representation on stage at the humble age of 30-years-old.
BILAL./ This is what I’m saying man !
We’re from that specific square of land
and land shapes everything – the work ya do, food ya eat,
dialect ya speak
that’s the we I’m talking about
– From p.18 of Peanut Butter & Blueberries
Suhaiymah Manzoor-Khan (Nick Hern Books, 2024)
Beginning the play with the prayer ‘Bismillah ir-Rahman ir-Rahim‘ (In the name of Allah, the most merciful, the most kind) was a subtle introduction and felt calming to me. It was a feeling of familiarity and my mind felt at ease being presented with two characters of Muslim heritage: Bilal and Hafsah (played authentically by Usaamah Ibraheem Hussain and Humera Syed). Bilal (or ‘Billy’ as Hafsah imagines him to be called by his white friends) is from the northern city of Bradford, and is studying South Asian studies. Hafsah, on the other hand, is studying gender studies. Her friends Hani and Mythri – who we don’t see but get great impressions of – provide ample laughs amongst audience members. These girlfriends prove a vital plot point to assist her with her potential choices in suitable men, but it’s the sweet saccharine love she professes for this ‘proper pkstaani Brummie’ and his ‘Doc Martens’ that grabs her attention.
We come to appreciate that the two bond over Islamic architecture – namely the Alhambra Palace in Spain – as Hafsah is writing a novella, with the goal to finish it in New York City. Whilst the main plot isn’t about this goal (it could well have been), but the writer’s programme is something she applies to – and whether or not she gets in offers some serious consequences for the duo. The ending took me by surprise, and I enjoyed it as it felt satisfying (though I remain tight-lipped on that!), it was an enjoyable evening of entertainment in North London.
The set (by Khadija Raza) is mostly bare, as the piece beginning with two chairs to replicate a bench. As a revolve stage, it’s two rings that move in circular motions. The movement direction seems effective and highlights how the traditional British Muslim experience bars any physical touch, but the romance still spills into audiences’ hearts. The set changes – with desks and a lamp to replicate a library scene) with stage hands causing a minor break from the captivating stage presence we get used to being fixated upon. Sameena Hussain’s direction is peppy, and gives the two central characters the believability required to make this flow with ease. It can be hard when addressing the audience, but this is done in a seamless manner given the talented actor. The Bradford accent is done well, and the inclusion of Muslim in-jokes and phrases (a favourite of mine was ‘Yaarra’) made this a really sweet and funny show. It helps that the writer, Manzoor-Khan, is from the north of England herself. I did, however, think that the Brummie accent did leave a little bit more to be desired, but instead slipped into a generic UK British S. Asian male accent. Minor grumbles, one could say.
I truly hope this show’s lucid writing will provide a window to the British Muslims that live and breathe in our towns and cities. In 2024, and the #raceriots showing that the Muslim communities need our support, it’s come at a rather timely place – as noted by Manzoor-Khan just this week in the UK press – in our British history in the 21st century. As someone who has enjoyed Indhu Rubasingham’s tenure at the Kiln over the years (an adaptation of Zadie Smith’s White Teeth was what lured me to this producing house for the very first time back in 2018), Peanut Butter & Blueberries is a feel-good and stunning departure for the outgoing Kiln Artistic Director. A seed has been planted for what taking over the reigns (or captain armband, as was displayed at this year’s Olivier Awards) of Rupert Norris’ Royal National Theatre may look like.
📅: Until 31 August 2024 only.
🎟️: https://kilntheatre.com/whats-on/peanut-butter-blueberries/
IMPORTANT INFORMATION
For content advice, click here.
During the run of Peanut Butter & Blueberries, there will be prayer space available on the Kiln Theatre premises for our audiences to use. The show is expected to end before 8.30pm throughout the run and we will facilitate audience members, who need to pray the sunset prayer, in doing so immediately after the show. Please speak with a member of staff and they will happily direct you to the space. Additionally, there are two mosques at a short distance from the theatre: the Kilburn Islamic Centre (292-294 Kilburn High Rd) just across the street (400 feet) and the Kilburn & Hampstead Masjid (239 Kilburn High Rd) a 1-minute walk away.
Alcohol-free Performances: 12 Aug, 7.00pm and 22 Aug, 7.00pm. Please note: only soft drinks and snacks will be served and there will be no alcohol drinking on site.
Post show Q&A: 20 Aug, 7.00pm
ACCESS PERFORMANCES
Captioned Performance: 22 Aug, 7.00pm
Relaxed Performance: 28 Aug, 2.30pm
Touch Tour: 29 Aug, 5.30pm
Audio Described Performance: 29 Aug, 7.00pm
Click here for Access information. If you have any questions about any of our services or need assistance in arranging your visit please get in touch: 020 7328 1000 or Access@KilnTheatre.com.
** N.B. This review was a gifted ticket in exchange of an honest review of the content and material showcased on the stage. **
(Tony Jayawardena as George Khan)