Review: MARRIAGE MATERIAL, Lyric Hammersmith

Staging a sweeping family epic is no mean feat, although there are surefire winners such as The Lehman Trilogy, All My Sons, Long Day's Journey into Night, The Glass Menagerie and Fences. Now we can add director Iqbal Khan's new co-production between Lyric Hammersmith and Birmingham Rep, based on Sathnam Sanghera's titular novel, to the genre.

Adapted by Gurpreet Kaur Bhatti, this play is a tender and funny multi-generational saga about relationships, loyalty and trying to embrace a new culture in a new country.

The story follows two Sikh Punjabi sisters, who grow up in a small corner shop in Wolverhampton, from the 1960s to the present day (departing from the novel which ends earlier). Sanghera says he "shoplifted" ideas for his book, shortlisted in 2013 for the Costa First Novel Award, from Arnold Bennett's The Old Wives Tale published back in 1908.

Anoushka Deshmukh enthusiastically depicts Surinder, the livewire younger sister blessed with beauty and brains. This means trouble for Surinder, however, when her mother, Mrs Bains (a compelling Avita Jay), favours arranged marriage over higher education.

"We will find you a somebody," says Mrs Bains, ignoring that Surinder wants to be a somebody. Her conventional father (a credible Jaz Singh Deol), intent on izzat (honour and reputation) is also keen on a somebody for Surinder, taking advice from Irfan Shamji's larger-than-life 'Uncle' Dhanda.

Less attractive and more constant elder sister Kamaljit is portrayed by an excellent Kiran Land. She dutifully accepts her role in the shop and at home, while her sister follows a different path. Ironically, she becomes more outspoken as she ages (not unlike her mother), claiming a number of the funniest lines in the latter part of the show.

Layers of history are woven into the play, from Sikh activists protesting about a Wolverhampton Transport Department ban on bus drivers wearing turbans, to Wolverhampton MP Enoch Powell's 1968 Rivers of Blood speech. I like these positioning references, even though it seems remiss in an up-to-date version not to mention Rishi Sunak, Britain's first Asian Prime Minister, or Mayor of London Sadiq Khan.

The action then moves forward to the next generation, featuring Deol doubling up as Kamaljit's charming but conflicted son Arjan. He leaves his job and white fiancée in London to come home and run the shop when there's an unexpected death.

Omar Malik also ably doubles as gentle shop assistant Tanvir, with a soft spot for Kamaljit, and Ranjit – Arjan's crazy weed-smoking and weapon-mad childhood friend.

Set and costume design by Good Teeth produces a simple, but effective corner shop/home, and vivid, flowing outfits befitting to a Punjabi drama. Keep an eye out for the final sequence when the costume department's really let loose.

It's a treat to hear traditional Indian music alongside 1960s pop songs to shimmy us through the years (composition and sound design by Holly Khan). Anyone remember "Build Me Up Buttercup" by The Foundations or "Sugar Sugar" from The Archies? Even though these pop songs aren't quite Mozart, they certainly take you back to a particular time.

Whereas the music happily pounds out, audibility from some of the cast is an issue on occasion. It seems a shame to lose any of the wry humour, so hopefully these problems can be rectified.

Pulling off a heartfelt family epic isn't easy with numerous characters spread over the years. Marriage Material could benefit from some editing before the interval and more explanations and tying up of ends in the second half. There's heart here ­– but I would like it to beat stronger and louder.

Marriage Material runs at Lyric Hammersmith until June 21.

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