Bombay Dreams: The Miracle or Nightmare on 53rd Street? When the Andrew Lloyd Weber production of Bombay Dreams opened in London’s West End two years ago, the critics huffed and puffed and blew it away; “if this production does not flop, I’d like to see it taken off West end”, wrote an infuriated theater critic. Instead, Bombay Dreams turned out to be another multimillion dollar real estate for Sir Weber and continues to run to a full house in London. A new and revised version just opened at the Broadway theater on 53rd street in Manhatten. In its first month, attendance rates are in the 90% range. The show is a close contender in gross collection behind giants such as “Lion King”, “The Producers” and “Mamma Mia”. So, there is your miracle right there: a Bollywood story of rags to riches set to A.R. Rahman’s popular film music finds its way to the mecca of theatergoers. Broadway meets Bollywood full face and loving it!

For those with a higher threshold for the definition of a miracle, do not despair, the show does deliver to the sensory inputs of those attuned to the Indian cinema. As musicals go, this production is right up there with the typical Broadway show– two hours of pure entertainment served up with sprinklings of mirth and talent. It’s a lavish spectacle with scintillating colors and, music that is instantly recognizable as the movie tunes you’ve been humming since the days of “Dil Se” and “Taal”. Two turban clad percussionists perched high on either side of the stage thrill and titillate with the sound popularized by A R Rahman. What will move you to the edge of your seat however, is a cast of little known actors of Indian origin rising to the occasion in a performance on Broadway that is comparable to any of the widely lauded musicals.

The storyline is credited to Meera Sayal, although she couldn’t have burnt too many candles generating this typical paint-by-numbers Bollywood script. There is the hero rising from the slum to superstardom, a comedic sidekick, the heroine with a wealthy father, the hero’s elderly goody-goody mother. A villain and the vamp complete the line up; your ten year old could connect the numbers to complete the picture. But then, this play lays no claim to intelligent storytelling. Instead, it cleverly integrates typical Bollywood plot contrivances into a humorous and spicy spoof of the unapologetically tried and tested Hindi movie themes. Manu Narayan plays Akash, the hero, and is clearly comfortable on stage although his rendition of Chayya, Chayya leaves you aching for Sukhwinder Singh. Of the female actors, Ayesha Dharker as Rani, playing an aging superstar in Bollywood has the meatier role with better dialogues and hence, stands out as the better performer. The star of the show is clearly Sriram Ganeshan whose portrayal of Sweetie, a sari clad Bombay eunuch progressively grows in strength through the show. His vocal prowess is especially evident in the catchiest song ‘Love is never easy” set to the tune of “Ishq Bina” from Taal. Perhaps the most compelling performances are attributable to the myriads of tireless dancers that grace the stage for several memorable musical numbers.

The production values show off its 14 million dollar price tag. Colorful almost to the point of being glitzy, the overall production is impressive and holds the material together under the direction of Steven Pimlott. Several changes were apparently implemented in the Broadway version to “Americanize” the show; some of the plot twists were jettisoned, several one liners included and the orchestra expanded for a fuller sound. Yet, those accustomed to the music of the London production of this play will recognize that Rahman’s music has been simplified for greater Broadway acceptance. It’s a shame; after all, the play is touted as A R Rahman’s Bombay Dreams and he should have been allowed the musical license to its fullest extent. Nevertheless, the music is infectious with several anthem type tunes in the likes of “Salaam Bombay” and “Chayya Chayya”

To a south asian, this is all well and cool. To the Broadway critic ravenous for rich and intelligent theater, it is not surprising that this play could be construed as a nightmare – untouchables in city slums and men in drag dancing to snake charming music. While some awareness of the prototype of this musical is critical for its appreciation, there will undoubtedly be hesitancy on the part of Broadway regulars to admit novelty such as this to its inner circles. Not surprisingly therefore, Bombay Dreams was snubbed by the recent Tony Awards ceremony without a single nomination. Fear not though, the foot is in the door, it’s only a matter of time before America bows to the whims of the Bollywood film maker. And “do the Shakalaka” become the mating call of the west.

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