Tag: milli Bhatia

A nerve-wracking journey into the horrors (quite literally) of being stateless, laced with bags of comedy is what cements Bhatia & Bhattacharyya as two of the most exciting theatremakers in Britain.

By Hamza Jahanzeb | 10 October 2024

Last night, I attended my first production at the New Diorama theatre (NDT), an off-West end producing house that has knocked out the park some absolute bangers like Operation Mincemeat, For Black Boys to name just a few. In just over a decade, the venue has really shone for its ability to nurture talent at its central London location.

The UK Government itself defines ‘Leave to Remain’ as the last hurdle before a migrant decided to settle in the UK. And in this spook-tacular production, lovers of both fright night content and social justice narratives will surely be gripped to the edges of their seats as this nail-biting drama unfolds.

“Big, angry bear,
Drags you by the hair,
Rough, wet tongue,
Licks you ‘til you c*m.
Sharp, curved claws,
Tear your silky drawers,
Smooth, arched back,
Hear your spine go crack.”

– King Troll (The Fawn)

My first performance at this exciting 80-set venue was created  as a co-production between Kali Theatre – whose works I’ve long admired from afar – and the NDT. It’s an interrogation of  the migrant’s experience to adapt and settle, whilst facing emotional challenges.

The central plot of King Troll (The Fawn) revolves around two sisters – older sister Nikita (played by Zainab Hasan) and Riya (played by Safiyya Ingar) who are both fighting the legal system to achieve the unachievable for Riya: her Leave to Remain status. Added to this stellar duo is Ayesha Dharker who plays the landlady Mrs B. and Shashi (a friend-of-the-girls’-mother) with both pizzaz and hearty comedic chops. Every moment Dharker is on stage is never a wasted one, as she knows how to create a laugh amongst the crowd. The remaining two people in the cast are Diyar Bozkurt as Tahir, whose emotions run high when dealt a blow to his character’s status. The playful nature of his character showcasing his love for football, I felt, could have been explored a little more.

Finally, we have as Dominic Holmes as The Fawn – a sort of summoned beast – and the physicality with which he plays this role is marvellous. It’s a masterclass in how to contort, captivate attention of the audience whilst keeping us on tenterhooks.

The industrial set (complete with soil dotted around) is surrounded by wired mesh material; the entrapment the characters face is further enhanced in the austere set design by Rajha Shakiry. It sets a high bar for future productions in this intimate venue. Further,  Shakiry’s set is eerily clever in the way the scenes ending, and subsequent movements – deployed by Iskander Sharazuddin – connects effortlessly to the powerful words of Bhattacharyya. The script is strong, and there is one monologue that the Fawn delivers which is done so with great conviction, under Bhatia’s direction. For a moment I felt that the Fawn was entering my soul, it was that menacing!

A stand-out moment for me was the Fawn managing to fold its body, and my eyes were constantly glued to Dominic Holmes’ next steps. His ability to magnetise the audience with a creepy physicality is what really shone in this production. Bhatia’s direction was evident as being measured, never straying into overkill. The balance of horror and comedy achieved is to be commended, and displays Bhatia’s strong directorial chops.

Moreover, the lighting (designed by Elliot Griggs) instills the intended fright at every given opportunity. The way the spotlights follow each character, coupled with the expressions of the actors brings to the fore the thriller-fuelled moments. These  seamlessly enhance the drama as it unfolded. A word of note, however, is that the productions used strobe lighting so do read the warning were you to be sensitive to the flashing lights.

Overall, this story is one that many immigrants (or families of immigrant heritage) will find resonate to their own lived experiences. Whether it is scrabbling for pieces of history (the girls seeking to find papers to prove their mother’s work at the cleaning company), or the fact you may need to carry out actions that can be portrayed as being a traitor to your has a native, the writing speaks to a wide audience. I was transfixed as Bhattacharyya and Bhatia’s  world is given the crisp sound design from XANA to haunt us; we are transported to the strange world of the Fawn and the Choudhury sisters from the very beginning.

King Troll (The Fawn) is genuinely a thrilling watch – I’d not been to a show where I’ve audibly gasped and shrieked. For me, someone who enjoys a bit of a scary plot, it really was a visual feast. The only comment I had was with regards the structure  that I felt didn’t wholly seem conceived and felt somewhat rushed. I’d personally have liked to have seen a more feasible ending for the characters involved (it didn’t seem as neatly thought-out as the first half of the show), but I do appreciate the care and insight that the entire piece depicts of those who are stateless.

This production will cause many audible screams in the local vicinity, as well as barrels of laughter as far as Great Portland Street station. And for that alone, I heartily recommend this; with a stellar cast including Zainab Hasan and Dominic Holmes, the entire creative team’s mission to entertain and bring fun to an evening at the theatre is thoroughly achieved.

Until 2 November 2024 only | https://newdiorama.com/whats-on/king-troll-the-fawn

**N.B. This is an honest review, in exchange for a gifted / complimentary ticket. The reviewer has written this with their editorial control, with no external influence on how to frame the show. #AdvertisementFeature #PRInvite #Gifted #ad **

* Credits & Ticket / Listing Information *

Writer – Sonali Bhattacharyya
Director – Milli Bhatia
Designer – Rajha Shakiry  
Associate Designer – Yimei Zhao 
Lighting Designer – Elliot Griggs 
Composer and Sound Designer – XANA  
Movement Director – Iskandar Sharazuddin  
Fight Director – Bret Yount 
Casting Director – Arthur Carrington
Assistant Director – Neetu Singh
Production Manager – Chris Burr
Wellbeing Practitioner – Eshmit Kaur
Stage Manager – Alexandra Kataigida
Assistant Stage Manager – Masha Kononovs

Tahir – Diyar Bozkurt
Shashi/Mrs B – Ayesha Dharker
Nikita – Zainab Hasan
The Fawn – Dominic Holmes
Riya – Safiyya Ingar

A co-production between Kali Theatre and New Diorama Theatre. Co-commissioned by New Diorama Theatre.

Mon – Sats, 7.30pm
Sat matinees, 3pm
Babes-in-arms: 2pm, Thur 31 Oct

Previews (4 – 8 Oct)
£16 full price
£3 unemployed / on strike

Main Run (9 Oct – 2 Nov)
£22 full price
10% discount for groups of 6+
No booking fees

Playtexts available at the theatre for £7

Running time:
90mins, no interval

Content Warnings: Contains blood, intense strobe lighting, periods of darkness, loud noise, haze, physical violence, smoking, coercion, racism, descriptions of torture and gore, strong language and sexual content.

Age Recommendation For ages 15+

Latecomers not admitted.
All ticket sales subject to Terms & Conditions.

Captioned 7:30pm, Thur 24 Oct

Relaxed 7:30pm, Wed 30 Oct

Babes-in-Arms 2pm, Thur 31 Oct

Our venue is wheelchair accessible. To reserve a wheelchair space in the auditorium, please email hello@newdiorama.comwhen booking.

For more information, click here