Review: THE FATHER AND THE ASSASSIN, National Theatre

Photo credit: Marc Brenner

“If you’d seen what I have, you’d feel the same too.”

The Father and the Assassin tells the story of Nathuram Godse, the man who murdered Mohandas Karamchand Gandhi. The lights go down and three bullets are lit, symbolising this terrible assassination. Godse, played by Shubham Saraf, rises from beneath the stage. He speaks directly to the audience, he is engaging and likable, he makes us laugh, he is just like any one of us. We are about to gain an understanding of why he committed such a horrific act.

Godse narrates throughout, breaking mid-scene to guide us through the important events in his and Gandhi’s life. Naturally, the play is filled with creative license. Anupama Chandrasekhar has used the little details we know about Godse’s life and embellished these to imagine what he might have gone through in the lead up to committing his final crime. She does so with humour and humanity, gripping the audience from start to finish. Whilst we understand much of this story has been imagined by Chandrasekhar for the purposes of entertainment, the play still feels true to its telling of history. Many of the opinions from Godse and other characters reflect those felt by extremist individuals at this time and he acts as a somewhat spokesperson for many from this time.

Saraf is sensational as Godse. From the moment he appears on stage, the audience is in the palm of his hand, wanting to follow him as he tells this story. This is clear from the applause and cheers he receives when he returns back to the stage for the beginning of act 2. As he ages and becomes more and more radicalised, falling deeper into his extremist views, Saraf is able to showcase this expertly and we immediately identify what stage he is at at any moment. Saraf’s performance, along with Chandrasekhar’s writing, makes for a chilling realisation in the second half as this character we’ve grown to like inhabits more and more evil ideologies. 

The Father and the Assassin takes place over 32 years. From 1917, the first time Gandhi used satyagraha (non-violent protest) in India, up until Godse’s assassination. To cover such a large period filled with substantial historical events in a two-and-a-half-hour play is no mean feat. Anupama Chandrasekhar’s play leads the audience through this effortlessly with well thought-out scenes where every moment feels important to both the narrative and those whose lives it tells.

Indhu Rubasingham’s direction takes us from scene to scene with ease, supported by Godse’s narration and slick lighting and sound. Strong physical movement feels key within the direction and often feels almost dance-like. Mid-sentences they twist and turn their bodies and throw their arms out to accompany their lines and in ensemble sequences, the cast move together in a perfectly choreographed way. Whilst the movement is so large and at times unnatural, this only adds to the pacing and energy of the play. The full cast is active and they fill the large stage of the Olivier Theatre beautifully and purposefully.

This new fantastic play explores difficult themes that sadly still happen today in a dynamic and humanised way.

The Father and the Assassin is a masterclass in semi-historical storytelling. 

**** Four stars

Reviewed by: Cat Hancock

The Father and the Assassin runs at the National Theatre until 18 June, with tickets available here.