"Bombay Dreams" is not a unique fusion of Indian and western genresby Herb Greer / July 20, 2002 / Leave a comment
The appearance of a Bollywood musical is a surprise only because it has been so long in coming. Bombay Dreams masquerades as exotically multicultural, but is really the latest work in a tradition of purely western musical theatre.
The idea for the show came from Andrew Lloyd Webber, who was taken with some Bollywood music by AR Rahman and thought it might make an interesting ingredient for a show. He and Bollywood director Shekhar Kapur worked out a one-page scenario, developed into a book by the comedienne and writer, Meera Syal. A score was commissioned from Rahman.
Given these ingredients, it is tempting to regard Bombay Dreams as a quasi-alien piece of work, something unprecedented. But, in terms of genre, Bollywood is itself a confection of heavily westernised artists, playing very successfully through a western-sourced medium to the kitschy taste of a non-western mass audience, and employing certain Asian conventions (dance, cardboard heroes and villains) which have exact parallels in western countries. No one who has ever seen the German musical films of the 1930s can help but be struck by their uncanny similarities in mood and structure to Bollywood movies, despite superficial differences in local cultural decor.
With Bombay Dreams, it is these shallow aspects that have been imported to decorate a plot that comes straight out of European tradition: a young poor boy wants to be a Bollywood star, and meets the beautiful daughter of a hard-nosed Bollywood producer. Result, love; but will his innocence survive the corrupting environment of Bollywood, if he becomes a star?
This entertaining fluff-as familiar in structure to the western punter as it is to the post-imperial audience in the subcontinent-is hung with a d?cor borrowed from Bollywood; and, curiously, that aspect is the most western ingredient of the whole proceeding. Spectacles that exploit the costumery and dances of eastern cultures have been standard fare in our theatre for hundreds of years. In the 18th century, the fashion focused on the Ottoman Turks who had so nearly overwhelmed Europe.
Probably for reasons that had to do with imperial politics, western theatre borrowed primarily from the Islamic and far eastern cultures. India, by contrast, was usually perceived as a congeries of inferior subject peoples, with a quaint culture that-bar a poet or two and a few gurus-was strictly for the specialists
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