★★★½

“bursts with colour and complexity”

Picture a play about South Asian women and you might expect exoticism, stereotypes or tokenism. ‘Brown Girl Noise’ flips the script, putting British South Asian lived experience front and centre. The writing could dig deeper, but the potential in this fierce, defiant and important piece is undeniable.

Four South Asian women meet in a casting room, waiting to audition for yet another stereotyped role. As the clock ticks by, they start to bond over the typecasts that haunt their careers. When an hour’s delay is announced, they face a dilemma: stick to their principles and leave; or stay for the chance of some much-needed work. No-one’s in a rush to go home. Cue a riotous hour of satirical, soul-searching role play, upending convention with irreverent flair and giving voice to the silenced sides of British Asian life.

Written and performed by Kaya Uppal, ‘Brown Girl Noise’ is a laugh a minute. With punchy, no-holds barred humour, expect some hilarious insights into the typecasts and tropes British Asian actors might be served in a series of cutting ‘chapters’. From ‘Snow Brown’ (goodbye beloved Disney character, hello unrealistic beauty standards), to ‘Can I pull you for a chaat’ (think Love Island, but South Asian), beneath each chapter’s irreverent image are real and important issues, such as colonialism, racism, cultural dislocation and not being ‘brown’ enough. It even voices unspeakable parts of the culture, such as shared silence and shame.

That said, for a play demanding deeper portrayals of British Asian women, the characters feel a little thin. Our four heroines adopt onomatopoeic monikers; each bares their soul but a lack of development dulls the impact; the ending roars with a revolution we never quite reach during the play. But with a little more humanity and depth, this ‘noise’ could go nuclear.

Zarshaa Ismail’s direction shines in many respects but also leaves a little to be desired. The women feel fresh, if a little underdeveloped, and interpersonal dynamics could be tightened to bring out more light and shade. The inventive use of space and levels add dynamism and heightens the women’s rebellious side, with animated blocking keeping things interesting. The pacing could be punchier, with some of the spicier sections feeling a beat behind. Most importantly, the transitions between audition room and role play could be much clearer. Not all of them land, leaving the audience playing catch up, and blurring commentary with comedy in a way that can feel unintentional.

The design delivers overall. The blocks of colourful scarves serve as both passageway and partition to freedom of expression. Rajiv Pattani’s lighting heightens zany moments and deepens more sombre points, though more could be done to clarify transitions to and from the audition room. The costumes effectively represent the individuality of each character and avoid tropes. Mrin Somani’s sound design perfectly accentuates the action with sound effects as well as both reverent and ironic use of South Asian music. Kiren Virdee’s movement brings scenes to life and grounds them in the here and now.

This all-female, all-Asian cast fizzes with life. Ayesha Sharma’s Hum is the heart of the piece, both raw and rooted in her quiet wrestle with identity and belonging. Misha Domadia’s Whisper shifts from uptight to uproarious, before stepping into her sassy pride (especially in her hometown!). Though the troupe’s repartee could be a little snappier at times, their vibrant portrayal of a wealth of complex issues remains relatable and honest throughout.

Anything but quiet, ‘Brown Girl Noise’ bursts with colour and complexity, reframing British South Asian identity with daring clarity and brilliant humour. With a little polishing, it’ll be unstoppable.

HEISENBERG

Arcola Theatre

★★★

“this show reminds us how true connection can come in many forms”

Longing, vulnerability, alienation, second chances. As time passes, we are forced to take a look at our lives and reflect on the people we’ve lost, our career, who we are. Simon Stephens’ play Heisenberg, through a touching story of finding connection when you least expect it, captures the whole spectrum of human interaction, giving us poignant language along with witty banter.

Alex (Jenny Galloway), a 75-year old woman, receives an unexpected kiss on the neck from Georgie (Faline England), a bubbly American who can’t stop swearing. They start talking, or to be more accurate Georgie starts talking, firstly about herself and then trying to figure out Alex’s character by bombarding her with questions and assumptions, while Alex wants to find a way out of this conversation. A few days later, Georgie shows up at Alex’s shop and before long, a peculiar connection has formed which brings chaotic Georgie and quiet Alex closer and closer. Till Georgie asks for a favour that makes Alex question whether it’s all been fabricated or genuine.

Heisenberg is a production that creeps up on you. Awkwardness and wariness give way to authentic moments of vulnerable melancholy, side by side with hilarious one-liners. Light and dark come together in a blend that is familiar if you know Stephens’ work and writing style. The way director Katharine Farmer has handled the text, interchanging between letting the text lead the way, like a beautiful literary interval, and letting the characters shine through, is very interesting. Of course we need to appreciate the words, savour them, pay attention to them, but in a piece of theatre, the live spontaneity and action of the characters should be the focus, even in moments of wordy pondering or reminiscing. That would also help with the pacing, which feels like it’s dragging at times, the sharpness of the smart comebacks and comedic lines often suffering because of that.

The contrast between the two characters is distinct, created by two skilful and obviously experienced actors. Changing Alex’s sex from man to woman is a choice that alters the dynamic between Alex and Georgie and the impact the play has on the audience. The relationship between our two characters feels more tender, more equal, more focused on companionship. On the other hand, there is a general lack of spark and intrigue. It’s like sailing steadily in very calm waters, without any sort of fluctuation of the waves or the weather to make things more interesting and add a level of risk. Overall, it’s a choice that provides a new perspective onto the relationship, but not in a particularly successful way in the long run of the play.

Lighting designer Rajiv Pattani did not hold back and really stressed the journey’s turning points and mood changes smoothly and skilfully. Moreover, lighting assisted with the lack of any actual set, filling a stage that was left plainly bare (except for two chairs). Sound design (Hugh Sheehan) also came to the rescue, giving us clear locations by providing background noise when necessary. It’s quite an intimate stage, but still it’d be interesting to see the kind of set experimentation that could emerge to surround the actors.

Alex shares how the older she gets, the more she realises how brief life really is. And this show reminds us how true connection can come in many forms, even between people who seem like they have nothing in common. Heisenberg deals with themes that are universal and makes the passing of time, the briefness and vastness of life, feel a little less lonely.

BROWN GIRL NOISE

Riverside Studios

★★★½

“bursts with colour and complexity”

BROWN GIRL NOISE

Riverside Studios

Reviewed on 17th September 2025

by Hannah Bothelton

Photography by Lana Farhat

Previously reviewed at this venue:

BROWN GIRL NOISE

BROWN GIRL NOISE

BROWN GIRL NOISE

HEISENBERG

Arcola Theatre

★★★

“this show reminds us how true connection can come in many forms”

HEISENBERG

Arcola Theatre

Reviewed on 14th April 2025

by Stephanie Christodoulidou

Photography by Charlie Flint

Previously reviewed at this venue:

HEISENBERG

HEISENBERG

HEISENBERG

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