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Indian Ink

 
Richard Beck Review by Richard Beck 4 Published: 23 Dec 2025 Hampstead Theatre Show Dates: 3 Dec 2025-31 Jan 2026

Previews of Sir Tom Stoppard's Indian Ink at Hampstead Theatre began just a few days after his death, and through this sad coincidence, a story is highlighted that gives the production an added dimension.

An unmissably brilliant aspect of the production is the stunning and highly versatile set by Leslie Travers.

Originally a radio play, this revival celebrates the thirtieth anniversary of the stage debut, in which Felicity Kendal played Flora Crewe. She and Stoppard were in a relationship for many years. He wrote the role for her and dedicated the play to her mother. Now, she plays the role of Crewe’s sister, Eleanor Swan, who outlived her by many years. Their story unfolds in two time frames, until the very end, when Swan travels to India and stands over her sibling’s grave in a poignantly moving scene.

Taking on Kendal’s original role, Ruby Ashbourne Serkis brings an air of the debutante. Arriving in India for health reasons, she inevitably attracts the attention of all the important people in the region. The English colonial official, David Durance, clearly has his eyes set on her. Tom Durant-Pritchard gives him the etiquette of the Raj, which comes across with hesitant politeness in her presence. Balancing him is Nirad Das, a local artist who paints her portrait. Gavi Singh Chera captures both the customary respect given to the memsahib and the informality of a man with whom she freely engages, enjoying his company and conversation. It’s a delight to see their relationship develop in a way that will never happen with Durance. Irvine Iqbal exudes the presence of an Indian aristocrat, with a charming manner in making advances that, ultimately, will go nowhere.

Meanwhile, back in her English country garden in a later period, Eleanor Swan is serving cakes and cups of tea to Eldon Pike, a literary researcher from the USA eager to lay his hands on any material about her sister, particularly her correspondence. Those were the days of revealing all in letters. Donald Sage Mackay plays Pike with the ineptitude of a man unaccustomed to the pleasantries of English society, in complete contrast to the lady of the house. Kendal exudes charm, politeness, and tolerance, interspersed with wit and her hallmark cheekiness — sadly wasted on the interloper but not on us.

There are some delightful moments of banter among servants and lackeys, and director Jonathan Kent excels in capturing the appropriate period feel in both locations, highlighting the various levels of relationships between the diverse characters.

An unmissably brilliant aspect of the production is the stunning and highly versatile set by Leslie Travers, which copes with multiple locations in India and the parallel English venue: a split stage that merges into one, adorned with an abundance of flora. Costumes by Nicky Shaw add to the atmosphere and sense of period, while lighting designer Peter Mumford bathes the entire production in the most delightful hues.

It's a delightful entertainment with captivating performances and a fitting tribute to the late author.

Amir Nisi

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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The Blurb:

1930, India. Flora Crewe, a noted Bloomsbury Group poet, undertakes a journey through India for her health. Free-spirited and without social inhibitions she unsettles most people she meets, but secretly captivates Nirad Das, a handsome Indian painter. 

1980s England. Flora’s sister, Mrs Swan, is visited by an American biographer trying to uncover exactly what took place on the trip – and then Das’ son appears in her garden with a painting of Flora by his father – a nude…

Satirising the self-importance of both academia and the ruling class, Tom Stoppard’s Indian Ink is an evocative meditation on art and love, exploring how creativity can bridge even the most profound cultural barriers.

Tom Stoppard returns to Hampstead after last year’s sell-out success of The Invention of Love. This is the first major revival of Indian Ink since 1995, when Felicity Kendal created the role of Flora Crewe. She returns to play Mrs Swan in Jonathan Kent’s new production.

Jonathan Kent directs in his first collaboration with Stoppard. His Hampstead credits include House of Games, Double Feature, The Forest and Good People. 

We thank the Indian Ink Production Syndicate for their contributions to the production: Jocelyn Abbey & Tom Carney, Ken & Lin Craig, Melanie J. Johnson, Jean-Charles & Luce Julien, Gillian King, Frances Lynn and Sophie & Stephen Warshaw.

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