BROWN GIRL NOISE
Riverside Studios
★★★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.
BROWN GIRL NOISE
Riverside Studios
Reviewed on 17th September 2025
by Hannah Bothelton
Photography by Lana Farhat
Previously reviewed at this venue:
INTERVIEW | ★★★ | August 2025
NOOK | ★★ | August 2025
A MANCHESTER ANTHEM | ★★★★ | August 2025
HAPPY ENDING | ★★★★ | July 2025
DEAR ANNIE, I HATE YOU | ★★★★ | May 2025
THE EMPIRE STRIPS BACK | ★★★★★ | May 2025
SISYPHEAN QUICK FIX | ★★★ | March 2025
SECOND BEST | ★★★★ | February 2025
