Happy Birthday Sunita written by Harvey Virdi and directed by Pravesh Kumar and produced by Rifco Theatre is criminally underrated. It stands out from other productions due to its modern take on family values. Throughout, there is a build up of conflict that leads us towards a satisfying conclusion and hopeful and relatable message to the audience.

The story begins, predictably, on Sunita’s birthday. Sunita isn’t present for a portion of the first act, setting the tone for her character who pushes her family out of her life. Her mother, brother, and sister-in-law worriedly discuss how Sunita is turning forty with no ambition, love life, or friends, while both expressing genuine concern and lightly mocking her. As Sunita makes an appearance, the story unravels. We discover that as a young adult, she had a big chance to make her life better, however her mother refused her the opportunity. We learn how she watched her brother attend university and meet his wife, while she was made to pass up scholarships, leading to her still living with her mother with a job she doesn’t have any passion for. The emotions build up when her mother insists on inviting her male friend to Sunita’s family-only gathering, pushing her into a complete meltdown over feeling like her dad is being replaced.

While the play is quite short, the narrative does not lose any substance, and manages to convey several different issues in a comedic and relatable way. It touches upon how in Punjabi culture, girls had often been discouraged from education and were pushed into focusing on being committed wives within their arranged marriage; something that Sunita’s mother Tejpal had been through. She had attempted to inflict those values on her own daughter, which leads to her now feeling remorse. This makes the audience upset in Sunita’s favour over her missed opportunities, but understanding towards Tejpal who is doing what she thinks is right at the time. Despite their differences, the family obviously care for one another. Their love-hate relationship is shown to be very well thought out, as there are moments of anger followed by reconciliation, such as Sunita’s brother Nav defending her even in their argument. The writer, Harvey Virdi, has put a great deal of thought into the words used.

There is careful consideration into the relationships of the characters. While there is an obvious parallel between Nav and Sunita, the one between Sunita and her sister-in-law Harleen is equally heart-breaking. Harleen is very successful in her fashion career and boldly refuses to bend to Nav’s wishes, leading to resentment over what could have been from Sunita’s side. Bhawna Bhawsar impressively shows Sunita as spiteful and angry, but reasonably so and we feel sorry for her even during her attacks. During what are some serious scenes, Rameet Rauli (Harleen) keeps the comedy alive with her high energy quirks.

The set design is simple, but effective. The living room is homely with well-loved furniture, but the kitchen is newly modelled. This is interestingly representative of the family who are holding onto their old troubles but are willing to make improvements. The choreography is also particularly impressive, showcasing a dance scene that has the family dancing together regardless of their disputes. It also adds depths as we get an insight into how close Sunita and Nav used to be in their childhood.

Without too many spoilers, the ending of the play is a perfect conclusion to what seems to be a hopeless situation. Issues that are frequently ignored are explored with a balance of authenticity and fun moments between the characters. The family’s decisions prove that they have overcome years of hurt to be able to redeem the time lost, especially with Sunita who accepts what is out of her control. This play holds a beautiful message to remind the audience that it’s never too late to begin to make amends, and I would recommend it highly.

Photos credit. Ellie Kurttz