An American Brat
By (Bapsi sidhwa)
Any individual who thinks the age hole shut path back in the 1970s needs a ticket to Bapsi
Sidhwa's funny new play An American Brat. In light of the Pakistani-conceived essayist's novel
of a similar title, the enchanting story, now playing at Stages Theater, exhibits how wide that
gorge amongst guardians and kids remains. In addition to the fact that it is still here, it crosses
social, religious and national limits and influences us in ways that are both absurdly clever and
terribly harmful.
We initially meet the guardians, Zareen (Rahnuma Panthaky) and Cyrus (Sundy Srinivasan), a
Pakistani couple who have sent their little girl to the United States since Mom stressed that girl
Feroza (Arzan Gonda) was by and large too impacted by fundamentalist Muslims in Pakistan.
With an end goal to enable her youngster to locate some western young lady control, Zareen has
sent Feroza to Houston. Be that as it may, once here, Feroza accomplishes more than discover
her voice; she figures out how to thunder. While living the American dream, Feroza chooses to
wed a decent American kid - a pleasant American Jewish kid. This data comes to Zareen and
Cyrus as a pure little letter that sends the whole family into a hissy fit of swooning spells and
petition. The inconvenience is, the family is Zoroastrian, an antiquated religion that does not
enable young ladies to wed outcasts. In the event that Feroza weds this non-Parsi kid, she will
disgrace the whole family. As flimsy as the news makes Zareen, she's a statue of quiet contrasted
with Mumma (Uma H. Nagarsheth), Feroza's well meaning however extremely manipulative
granny. Mumma demands that Zareen travel to American quickly to talk some detect into
Feroza. In this way, with Cyrus' favoring, Zareen leaves on an adventure that will change both
her and her little girl's lives for eternity.
When Zareen gets to Houston, the story develops a considerable amount and the genuine energy
of Sidhwa's play opens up. Zareen finds that her little girl has developed in ways the Pakistani
mother would never have envisioned. The main trouble for Zareen is Feroza's living
circumstance. She stays with her fianc David (Luke Eddy) and a young lady named Jo (Alison
Coriell). Zareen reveres Jo (however she doesn't understand this flawless young lady is a
lesbian), yet she scarcely addresses David...at first.
Unexpectedly enough, after Zareen invests some energy in Houston, she gets used to American
opportunities. Also, notwithstanding her main goal - which is to sever her little girl's
commitment - the young fellow begins to develop on Mom. Indeed, Zareen appreciates America
and its flexibilities so much that she begins to comprehend why her little girl has changed. It
nearly appears as though she will acknowledge her little girl's decision. In any case, at that point
Cyrus and Mumma call from Pakistan to help Zareen to remember what she's doing in America.
Conclusion:
The genuine quality in this creation lies in the inconspicuous yet shockingly enthusiastic move it
makes from satire to show. The written work, the heading and the solid cast all add to this
change. In any case, Panthaky's Zareen, who is lovely, delicate and alarmingly capable after all is
said and done, is especially great, just like Gonda's Feroza. Dalton's heading is layered and
guileful, and he includes two consummately showy minutes when Zareen flies both courses over
the sea. There is genuine visual verse in the way she remains solitary in a solitary spot of light
while the sound of the plane fills the theater. There is peaceful and enduring profundity in this
picture. What begins as a clever take a gander at the hole between ages transforms into a moving
examination of the way those holes bend lives and add to the apparently everlasting limits that
keep societies and religions separated.
