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image Commercial Road

That's why God put dirty magazines on the top shelf, so us Asians can't reach them...

Hackney Empire 3 June 2009 - 20 June 2009

I saw a few posters around East London with this humorous one liner. I was not surprised to then hear it in Mina Maisurla's Commercial Road. Unfortunately the joke was lost in the extremely hot studio at the back of Hackney Empire. The audience was rather stiff, and dare I say afraid to laugh at the joke.

With strong language from start to finish, this Petrol station setting becomes the harbour to Krishnan's - aka the Freshee's - feeling of difference and alienation; which is coupled by his eager to please the Boss and earn his pay. He is one of four other employees who are mal treated by their ambitious, vulgar, yet bird loving Boss Girish, who, in return receives the same treatment from his employees.

The banter between the group is crude but garishly highlights the difference within the Asian community. The Pakistanis and the Indians both share common prejudices against each other; then those who consider themselves British against those who are F.O.B's (Fresh off the boat!). Krishnan is treated with disdain from Sonny, the Boss' son; who comes to work at the Garage, which we later realise is a means of spending time and getting close to his father who is ignorantly unaware; which only leads to a fiery tumult of violence, anger and despair.

The intimate design of the studio meant that the audience was in close proximity to the stage, therefore any slight indication of boredom from the audience would have been felt by the cast.

Like any other stage production there were strong points and weak ones too; but with a running time of only one hour and forty minutes it was a shame to lose some time to those weaker ones.

With all credit to the small cast of five, I would give special mention to Kal Aise, who played Krishnan, who epitomised the dispossessed worker. I believe his character was convincing and demonstrated the plight of the illegal immigrant.

Written By Rachel Charles

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