A phenomenal recreation of a phenomenal story. An artistic delight from start to finish

Reproducing such a widely-known and highly-regarded production, based on a book of similar status, is always going to set standards high for any audience. In this instance, though, those standards are more than met. 

Even before the production begins, as everyone finds their seats, the air is filled with the rhythmic sound of the tabla (Indian drums), building to an appreciable crescendo before the lights come up and the play begins. Being a key inclusion in Matthew Spangler’s original script, the use of the tabla lays an excellent foundation for so much of the play, grounding certain scenes and important developments in the plot within the 1970s Afghanistan of the play. Along with select use of other instruments, such as SInging Bowls and the Schwirrbogen (a zither-like string instrument), the overall soundscape in the theatre is redolent with intriguing and evocative music, even as the drama continues in the foreground.

Also worthy of note – another key in helping immerse the audience in this world and culture – is the extremely clever set design. Efficient and confident use of the backdrop, altered subtly with lighting to simply, yet competently, demonstrate changes in tone or the passage of time, is only complemented by some minimalist additions in the form of projections on cloth hung from the midground. 

With only these (and one or two other) frequent, minor alterations throughout the play the company manages to transport us through the various locations of The Kite Runner with an appreciable ease of effort.

The acting is, for all intents and purposes, stellar. There are one or two moments in the first portion of the play, where several of the main cast are playing children, where some of the “childlike” exuberance of several characters can come across as a little forced, but this is a fleeting and minor concern. There is an undeniable presence to all of the actors on stage, and it is comforting to see them take their time with their parts, allowing character to unfold parallel with plot in a way that seems natural and fitting. Of particular note as a standout performance, I found Dean Rehman’s Baba to be excellently delivered as a complicated, sympathetic character, especially in a relatively moderate role. 

As a whole the play is well paced, taking its time for the first half of the narrative and allowing us to truly engage with these well-written and similarly well-acted characters and understand their relationships. This really allows the production to utilise the events of the plot to great effect as we in the audience immediately understand the weight of certain actions on these characters and said relationships, to understand without needing to be reminded by the play in a way which might feel inorganic. 

Ultimately, the Playhouse production of The KIte Runner is an artistic, evocative and immersive delight from start to finish and really positions itself as a must-see for any fans of either the book or the original West End production. A truly phenomenal achievement for all involved.