Dara

Theatre, West End
Recommended
4 out of 5 stars
5 out of 5 stars
(4user reviews)
 (© Ellie Kurttz)
1/4
© Ellie KurttzNicholas Khan (Mir Khalil), Esh Alladi (Gvernor Khan), Sargon Yelda (Aurangzeb), Simon Nagra (Mullah Farooq), Rudi Dharmalingham (Danishmand)
 (© Ellie Kurttz)
2/4
© Ellie KurttzZubin Varla (Dara)
 (© Ellie Kurttz)
3/4
© Ellie KurttzVincent Ebrahim (Dara) and Prasanna Puwanarajah (Prosecutor Talib)
 (© Ellie Kurttz)
4/4
© Ellie KurttzChook Sibtain (Itbar) and Anjli Mohindra (Afia)

Shahid Nadeem's play, the first opening in 2015 at the National Theatre, tells of Mughal India in 1659, where two princes battle for succession.

Where do we find stories about Pakistan… that also affect us in Britain? That’s a question outgoing NT artistic director Nicholas Hytner has asked, and this is the epic and often highly affecting response.

‘Dara’ is a story that both Shakespeare and the Greek tragedians would have enjoyed tackling – a tale of strife between the two seventeenth century Mughal princes Dara and Aurangzeb, filled with ambition, betrayal, and at least one gorily severed head. Originally written in 2009 by Pakistani playwright Shahid Nadeem, it’s been adapted by Tanya Ronder, and addresses vital questions both about Islam’s historic role and its place in the modern world.

On Katrina Lindsay’s beautiful set – which divides the stage into three and echoes Mughal architecture with crenellated arches and intricate metal screens that work like veils – we first see Zubin Varla’s Dara begging an Afghan chieftain for sanctuary. In this establishing scene we learn all we need to know about Dara’s defiant spirit, the affection he has inspired in others, and the ravages his murderous brother Aurangzeb has wrought across the Mughal empire. The philosophical divide in Dara is between two interpretations of Islam – Prince Dara’s Sufi-influenced, tolerant, humane response and Prince Aurangzeb’s ascetic, vengeful interpretation, easily identifiable with today’s fundamendalist mentality. Aurangzeb proves the strategic victor – and we are gently invited to ask how that event might have impacted on the world order today.

This is a complicated story, and the play works best when it dares to revel in the complexity of the arguments it is putting forward. The best scene by far – and one it’s easy to imagine will be studied in schools – is when Dara is brought before the Sharia court in Delhi, and is forced to prove that he is a true Muslim. Varla has a compelling and intelligent stage presence that brings both lyricism and rigour to his arguments with the repressive prosecutor. ‘I am a Muslim who recognizes that other religions have value,’ he says, a declaration eagerly received by audiences whose news consumption is dominated by Muslims who think precisely the reverse.

There are some flaws. It occasionally becomes irritating that the background to Aurangzeb’s vengeful interpretation of Islam plays purely like the stuff of a misery memoir. Alarmed by the antics of his alcoholic grandfather, and bullied by his father, a clear emotional line is traced between the abused child and the tyrannical jihadist. Yet the progression cannot have been so simple, and allowing his character to be more complex would have given ‘Dara’ more dynamism. That cavil aside, it is a magnificently ambitious project, beautifully acted, and visually sumptuous, that throws both light and darkness on a crucial moment in world history.

By: Rachel Halliburton

Posted:

Average User Rating

4.8 / 5

Rating Breakdown

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  • 3 star:0
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LiveReviews|4
2 people listening

I watched this play last night and couldn't wait to come online to review it. This is one of the most beautiful productions of a story which has never been told properly even by historians. Dara was performed beautifully and powerfully by the entire cast, not only was it such an enchanting portrayal of our history but also a poetically moving one. Thank you to everyone who brought this to the UK. We were completely swept up emotionally, mentally and philosophically. No one should miss this! Definitely better than all the long standing musicals currently on in london!


Dara was a beautiful and enchanting production. The costumes, stage and actors were brilliant, it had me on the edge of my seat constantly. Zubin Varla gives an excellent performance especially in one scene where he is absolutely amazing. All actors gave great performances and the music really sets the scene. Its mixture of History and modern day perspectives are intriguing and fascinating. I would definitely recommend you to go and see this play.


Last night I attended the first performance of 'Dara' at the National Theatre. Set in Hindustan (Indian empire) in 1659, it details the struggle for power between two brothers as their father ages.

Why should you see it?
It is fantastically put together. The beautiful and imaginative staging used simple latticed screens to move the scenes from location to location, and although I can't say if the clothing was accurate to the time (I'm not an expert!) I can say the royal's outfits were exquisite. These elements alone would have made the play an interesting watch; yet the best was to come with the actors on stage.

Of particular note was Zubin Varla as the Crown Prince Dara. I won't give away too much, but his delivery of a long and complex argument in one particular scene was enchanting. A few times I looked across and saw the whole row leaning forward in attention and anticipation for the imaginative, perfect metaphors he would use next to illustrate his argument.

The rest of the cast were not outshone by this epic performance though. Vincent Ebrahim as the Emperor and Sargon Yelda as the power hungry brother are also worthy of praise - when all three are on stage their competition for the limelight reflects and enriches the plot somewhat.

Altogether a fantastic production, made better by the Entry pass ticket price of £5 - if you are 25 or under and don't have one, you are missing out!