“Part meta-commentary, part historical epic, part character study, ’The Father and the Assassin’ should be seen as a definitive take on a moment in Indian and Pakistani politics that can still be felt today.”
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“Our populism-blighted present hovers over Chandrasekhar’s play as it presents us with the story of Godse, and of the painful birth of modern India.”
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"This is a history play, the modern resonances abound without ever being spelt out."
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“Surprising in terms of its themes, there are some real laugh-out-loud lines of dialogue along with more powerful moments as the differing attitudes towards Partition are explored.”
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“Abeysekera’s command of the Olivier stage is effortless, bringing real intimacy to a sweeping production and a presence that is both tough and effeminate, a small man determined to make a big impact.”
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Chandrasekhar is clear that she is not interested in presenting "a history lesson ... [but] there are times when this does feel like an excursion into history.
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A thorough investigation into Godse's childhood and formative years evolves into an increasingly murky, touch-and-go exploration of later years. Topical, thought-provoking, but historically incomplete and lacking ambition.
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Anupama Chandrasekhar artfully unpicks the forces of history with a tale of violence and colonialism that echoes into today. It needs a powerful actor to hold the centre as Godse, and in Shubham Saraf it gets one.
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