Bollywood hearts meet Broadway-style spectacle in a cross-cultural musical with wit, charm, and just enough bite
Come Fall in Love – The DDLJ Musical, the stage adaptation of the Bollywood blockbuster Dilwale Dulhania Le Jayenge (DDLJ to its legions of fans), lands in Manchester with a bright heart, a dazzling set, and a thoroughly Western-Bollywood fusion that feels both nostalgic and new.
At its core, this musical—featuring music by Bollywood power duo Vishal-Shekhar and a book by Nell Benjamin (Legally Blonde, Mean Girls)—speaks about the experience of being first- and second-generation immigrants. While it doesn’t dive too deeply into the complex layers of identity, it offers plenty of food for thought, particularly around microaggressions and cultural assumptions.
Ashley Day as Roger and Jena Pandya as Simran bring infectious chemistry and razor-sharp comedic timing to the stage. Their journey from strangers to lovers may be predictable, but it’s delivered with such warmth, wit, and English-adjacent humour that you’ll find yourself smiling all the way through. There are plenty of witty jokes and playful moments that make the story not only palatable but genuinely refreshing.
Not a very complex exploration of origins and identity, but a great mirror for those who’ve navigated biracial, bicultural relationships—and a soothing balm for the ones who’ve lived to tell the story from the other side of a breakup.
One of the show’s standout elements is the scenic design by Derek McLane and the video design by Akhila Krishnan. Audiences are whisked away on a visually stunning journey through Europe and beyond, with clever stagecraft that makes the world feel both expansive and intimate. It’s a feast for the eyes.
There’s also something quite modern and moving in how masculinity is portrayed here. Roger is a heartthrob, yes, but he’s also in tune with his emotions, behaves like a true gentleman, and seems intent on breaking generational cycles. Day commands the stage with charm and tenderness, making the character as emotionally resonant as he is dashing.
Credit: Matt Crockett
There are areas that could use refining. The first act could benefit from some tightening, and one particular number—“Hot and Independent and Hot”—might warrant rethinking. While it’s understandable that Kuljit’s perspective is shaped by a limited exposure to life outside India, the number edges dangerously close to eurocentrism and racial fetishization, flattening Western women into a monolith. Greater care and nuance in addressing cultural differences would strengthen the show’s otherwise thoughtful handling of identity.
Still, Come Fall in Love feels fresh, has heart, and offers an inclusive reimagining of a beloved story for today’s global stage. It doesn’t rewrite the playbook—but it sings, dances, and jokes its way right into yours.