Daytime Deewane is an uplifting and high-energy play by award-winning UK writer Azan Ahmed, written from, in his words, ‘a place of radical joy. ‘
The play dives into the 1990s’ era of London’s daytime raves, when brown men were often excluded from nightclubs, forbidden to share public space with non-Asians. To circumvent this, young brown men from the Asian diaspora converged on nightclubs between 3pm and 6pm to lose themselves in the cultural euphoria of Bhangra music and dance.
Racism and identity and the ways in which they perniciously intertwine are the overarching themes of Daytime Deewane. For example, if you’re told enough times that your brown or black skin makes you inferior, odds are you might come to inhabit
this self-belief.
Directed by Iranian-Australian Sepy Baghaei (Wish You Were Here, Gate Theatre), Daytime Deewane introduces Muslim cousins, Farhan (Ariyan Sharma) and Sadiq (Ashan Kumar). Both young men are heavily burdened by generational family expectations of them to be ‘good Muslim boys’ and ‘proper British men’ 1. It is 1997 and they are at the last ever London daytime rave. Bhangra music plays, a dhol drum beats hauntingly. Here is a safe space in which they can fully immerse themselves into the euphoric music and dance, a place to celebrate culture and free expression.
Farhan is the quiet cousin, the conformist to Sadiq’s rebel. They argue, disagree, plead, weep, push and shove. They only have until 6pm to come up with the solutions to their questions. This is, after all, the final daytime rave.
Playwright Ahmed brilliantly weaves spoken word with Bhangra music and dance, lending a sense of urgency to the play. Each of these elements synergise exquisitely with the other, with Bhangra the conduit that unites Farhan and Sadiq in their explorations of self. The language of the play is poetic, tender in places, angry and bold in others. Short pauses in dialogue allow the audience to digest the nuances and complexities at hand during that racially divisive time in London’s history.
Ariyan Sharma (STC, Dear Evan Hansen) as Farhan is terrific casting. His portrayal is rich with humour and compassion, his belief in the unbreakable bond of cousins is touching and evocative. The audience laughed, cried, cheered him on. His interactions with the audience were engaging and highly entertaining. He brings humour and compassion to the role, his whimsical facial expressions are timed perfectly, and yes, he can dance!
Sadiq is played by Ashan Kumar (MainStage Debut). He dresses gangsta-style, soccer hoodie, baggy denim jeans with chains, thick silver jewellery, and sports a flip-top Motorola. Kumar inhabits Sadiq – he is angry, funny, tender, loud, despairing and inherently likeable. He speaks volumes with expressive hand and arm gestures that intensify every spoken word. His audience interaction was hilarious.
The set clearly reflected a 1990s’ nightclub with strip lighting on the floor, shooting strobes, and neon green strip lighting on the ceiling. During the dance components, the light show brought the stage to brilliant life.
Daytime Deewane is a thoroughly enjoyable, immersive production richly imbued with the playwright’s ‘radical joy.’ Don’t miss it!
To book tickets to Daytime Deewane, please visit https://riversideparramatta.com.au/whats-on/daytime-deewane/.
Photographer: Phil Erbacher
