Review of ‘Marriage Material’: “Popping too many questions without leading to any engagement”

The Lyric Hammersmith hosts the London premiere for the stage adaptation of Gurpreet Kaur Bhatti’s novel. Guillermo Nazara shares his views on the show, to let us know if its themes and storyline form a solid union.

This is no Pakistani soap opera. Yet, for some reason, I was expecting its lead to spin around in disconcert and accidentally hang herself with a curtain after being bitch-slapped by her grandmother. True – that’s the iconic Indian drama Sasural Simar Ka, arguably the mother and indisputable queen of TikTok virals. But still, playwright Gurpreet Kaur Bhatti doesn’t stand too distant from that eccentric style through the confusing structure of his latest theatrical endeavour.

There’s no question about what Marriage Material, which opened this week at London’s Lyric Hammersmith, aims to explore — the reason why it does it in such a shallow, unsatisfactory way, however, is a different story. Based on the novel by Sathnam Sanghera, there’s nothing new or edgy about its premise — the tale of a woman with bigger dreams than getting married as a teenager, even though fulfilling them will mean breaking her family’s heart.

But even when the concept no longer screams innovativeness (with this one lowering its volume over the past few years), authors can still find originality by bringing a different element, voice, or vision that endows an overexposed idea with a new identity. Not only isn’t this the case, but it is, most sadly, the exact opposite. Written by Gurpreet Kaur Bhatti, the play is nothing but a loaded pack of cliches and poorly devised plot turns, whose sole achievement is to keep a cynical impression on the viewer but never regaling them with an ounce of authenticity.

It’s not that what happens isn’t plausible. It all is, in fact — so much that we can’t help but predict every next move that’s to take place. The script could save itself if the dialogue provided us with some signs of introspection. Regrettably, there is nothing of the sort — just a concatenation of melodramatic components that fail to appeal (let alone, resonate with) the audience.

We cannot invest ourselves in the characters’ journeys, as all of them are sketched so vaguely we cannot care. There’s just as much one can tell in a couple of hours — and when that encompasses two generations of personages, the range becomes even more limited. Instead of letting any insight in, the script opts for underdeveloped scenes, incomplete arcs, and a succession of histrionic sequences — which, far from amusing, just accentuate the weaknesses and overall boredom the piece, as a whole, exudes.

The company is only as capable of repairing the damage — displaying some great farcical qualities when required, but in the end, unable to project enough chemistry, gravitas, and naturalness into their performances. Tommy Belshaw makes a refreshing exception through his double portrayal of Bill and Joe (as well as some additional ensemble parts), playing every role with impeccable deftness and flaunting an extraordinary degree of versatility in handling each one.

Walking down an aisle of poignant themes but too shy to take any of them to the altar, Marriage Material sets up the basis for a moving recount — which, though not the most daring or surprising, could still hold some promise. Yet, its inability to groom its potential leads to its current divorce between what it could be and what it delivers. Though probably not a masterpiece in the rough, the piece has every means to be way more significant than it is at the moment. But for that, it should separate itself from its Kim’s Convenience-Mamma Mia! vibes.

All pictures credit to Helen Murray.

Marriage Material plays at London’s Lyric Hammersmith Theatre until 21 June. Tickets are available on the following link.

By Guillermo Nazara