'Behind the Beautiful Forevers' National Theatre, Olivier ****

The sole purpose of theatrical art is to inform, educate and entertain an audience that may not have awareness of the subject. The National Theatre's production of David Hare’s newest play, ‘Behind the Beautiful Forevers’ is a stage adaptation of Katherine Boo’s 2012 novel, is one that primarily enables one to understand what occurs within the slums of Mumbai, in addition to this, the performances were agreeably presented. ‘Behind the Beautiful Forevers’ is as previously mentioned, set in the objectionable slums of Mumbai, which have being bombarded by a complex of hotels and the city’s airport, and is now at titanic risk of being demolished by property developers. We are introduced to the Hussein family, who are somewhat wealthy, because they manage a business where the local children have to seek out materials such as; plastic bottles, cardboard boxes etc. as a means to make money. Furthermore, Zehrunia Hussein's eldest son, Abdul is regarded as the speediest picker within the slums, however he has meagre social interaction, and the lack of maturity due to the fact that he hasn't had the opportunity to go to school, and he, as well as his mother do not know his actual age. The Hussein family are at loggerheads continually with their neighbour, Fatima, and was they are conducting home improvements, because of the feeble materials that the bricks are made out of, a hole appears on the adjoining wall, which causes the humungous argument to occur. Progressively, Fatima endeavours to destroy the Hussein’s, and when she sets herself on fire she conveys to the police that her neighbours are the cause of this, and blames Abdul for abusing her, which we all know is untrue. The police arrest the entire family, additionally at the finale it seems that Hussein family have lost everything, and the court case against them is ridiculed and closed out right. Hare’s narrative is daring as writing a play about the slums of an Indian communities is exceptionally risky, but the one found it phenomenally gripping. It reminds me of the 2008 Danny Boyle film, ‘Slumdog Millionaire’, which one enjoyed and became intrigued by this culture. One found the performances by the company of ‘Behind the Beautiful Forevers’ are increasingly dazzling, and Wendy Spon’s casting decisions were spectacular. Meera Syal is beguiling as Zuhrunia; in particular when she emotionally breaks down as her whole world crumbles, along with a vocal work when we see her hatred towards the neighbour. Thusita Janyasundera is tremendous is the Hussein's crippled neighbour, Fatima;  especially when she lies in front of the police as a way to devise sympathy towards her, and he movements of the disabled person were executed brilliantly. Rufus Norris’ direction is fantastic here as he has established a production that indicates the pressures of living in poverty, and it's a real insight into what may be performed at the National Theatre when he takes over as director of March. Katrina Lindsay's direction design is gorgeous as you immediately transported to the saddening atmosphere of Mumbai, moreover, the scenic construction and attention to detail within the scenic art works wonders on the large Olivier stage, and it’s a sight to behold. Overall, one found the experience of ‘Behind the Beautiful Forevers’ was an exciting betrayal into Indian culture, and well recommend.