Review: THE ESTATE, National Theatre
Photo credit: Helen Murray
Political drama often revolves around a key moment or a sudden disclosure, and that is certainly the case at the NT Dorfman when aspiring politician Angad is about to slide into the post of Leader of the Opposition – until an incident from his past is brought back to haunt him, along with a compromising video. So far, so familiar – but The Estate by Shaan Sohota is much more than a political drama. This funny, thrilling and hard-hitting first play marks the arrival of a major writing talent, combining thought-provoking drama and some great one-liners.
In an excellent series of settings by Chloe Lamford, the Dorfman stage effortlessly transports us from a funeral at a Gurdwara to Westminster, and the comfortable home of the Singh family, before the explosive finale at the party conference. Director Daniel Raggett creates a momentum that carries the play forward full-tilt and leaves the audience breathless, and the cast of eight are uniformly excellent.
As oily Whip Ralph, Humphrey Ker is as commanding a presence at Westminster as he once was as rowing captain at Harrow. The panic behind his eyes at moments of disaster is evident from the back of the theatre. Helena Wilson is Angad’s Special Advisor Petra, as involved with her eye make-up as his policies and always on duty. It’s a clever portrayal and contrasts well with the histrionics around her. As Policy Assistant Isaac, Fode Simbo is a very believable aspirant to political office, adept at spotting a chance and always ready to change allegiances.
Angad’s family feature heavily, with the estate of the title being a property portfolio left by his recently deceased father. The contents of the will do not seem to come as a surprise to Angad, and seem eminently reasonable to his wife Sangeeta (Dinita Gohil, giving a nice compromise: exasperation with her husband but also reaching out towards her culturally very different Sikh in-laws).
Angad’s two sisters are ostensibly very different, but similar in their response to the reading of the will. Long-suffering and devoted GP Gyan tries to see things from Angad’s perspective but is just too tired and too frustrated by her work to have time to negotiate. It’s a thoroughly convincing portrayal from Thusitha Jayasundera. As the less sympathetic sister Malicka, Shelley Conn approaches her part head-on and gives us a convincing portrait of a force of nature and a wronged woman.
The struggle between the members of the Sikh family is at the heart of the play, but it is linked to the struggle for leadership at Westminster: both are indelibly harmed by experiences of toxic masculinity and abuse, whether that be through stereotypical patriarchy or the appalling behaviour of some young men at public school, however much they try to dismiss it as banter. Sahota gives us all the evidence we need to see what harm has been done to these men, and it is both telling and informative to have each character’s school and university listed in the programme.
She also creates a central role which needs an actor who can combine vulnerability, bombast and ambition, able to switch convincingly in an instant, and to provide an outlet for his frustration in outbursts of temper. Adeel Akhtar is more than up to the challenge and gives a blistering, physical performance which is towering, unforgettable, and surely to be recognised in the next awards season. We see in him not just the aspirant politician but also the frightened, bullied schoolboy he once was.
The Estate is one of the last plays to emerge under Rufus Norris’ wing at the NT; he provides us with a new play which will be long remembered and a playwright to watch.
***** Five stars
Reviewed by: Chris Abbott
The Estate plays at the National Theatre until 23 August, with further info here.
