This production is based on Hanif Kureshi’s 1990 debut novel. When published the novel was hugely successful with its coming-of-age rollercoaster of a story set in the 1970s. Praised by readers and critics alike for its satirical humour and social commentary.

The combination of Kureshi and Director Emma Rice adapting the book for the stage works brilliantly. Both have distinctive voices and Rice’s vision shines through. For good reason she’s been called the ‘Wes Anderson of the theatre world’.

The Buddha of Suburbia has a raucous energy. It explores class, race and sexuality. It’s also incredibly funny. This first stage outing is colourful, inventive and at times very rude.

The story follows 17-year-old Karim (Dee Ahluwalia), a mixed-race teenager going through a range of sexual and social awakenings. He poignantly describes himself as ‘an Englishman born and bred. Almost.’ Along with his friend Charlie (Tommy Belshaw) they’re looking to escape suburbia into a world of stardom as actor and musician. Both actors capture that confidence and arrogance of youth and beauty. Never doubting they will make it and escape Beckenham.

Their story is set against a 70s backdrop of high inflation and high unemployment, political uncertainty, skinheads and the national front. Fashion and music help set the scene. There’s a pulsating disco beat throughout. From T-Rex to Abba and Stevie Wonder. If there’s an award for it, The Buddha of Suburbia should definitely win best soundtrack to a play.

Karim’s father, Haroon is a comic guru-like figure played with warmth and affection by Ankur Bahl. Haroon moved to London from a comfortable and easy life in India. He failed in his ambition to become ‘a lawyer, gentleman or ballroom dancer’. He’s a civil servant but in his spare time teaches his neighbours Buddhist philosophy. He leaves his white English wife Margaret (Bettrys Jones) for the flamboyant middle-class Eva (Lucy Thackeray).

Along the way we meet a cast of other colourful characters including Jamila (Natasha Jayetileke) who is a passionate young woman pushing back against family and societal pressures upon her. Ultimately, she bows to family pressure and agrees to an arranged marriage to Changez albeit it turns out to be very unconventional. Changez provides much of the humour and Raj Bajaj portrays his bumbling naivety to great effect and you feel sympathy for this stranger in an even stranger 70s land.

There was much knowing laughter from the audience as we meet the manipulative directors Shadwell (also played by Tommy Belshaw) and Matthew Pyke (Ewan Wardrop). Pyke is an influential smarmy figure in the London theatre scene. He takes Karim under his wing and introduces him to the world of performance and orgies.

And those orgies. Well, there’s a lot of sex. And a lot of plastic fruit. And party poppers.  All used for very effective comic effect to show what’s going on. It’s unusual to have sex scenes with no nudity that are so very explicit. They’re also incredibly funny and yes, they are central to the story.

Though Karim is the central character it’s the women who really resonated with me. The actors playing Margaret, Eva, Jamila, Eleanor and Jeeta (played by Rina Fatania) all give strong performances that speak to the pressures put upon women around gender, class and ethnicity. For me they provide the beating heart of the story.

Karim is the bridge between the 70s and now. He uses a microphone like a standup comic speaking directly to the audience. Telling us about the 70s and the conflict taking place. Both in the streets and at home. Ahluwalia delivers with confidence and draws the audience in.

It’s a whirlwind of a show, possibly a little too long. The use of music, dance and puppetry keeps it moving along at pace, particularly the first half of the play. The physicality of the production is a very different experience. Being in the Swan Theatre means you’re up close and personal to an orgy, dancing and a racist beating.

It’s staging over several levels is a visual treat. Though at times it means you can be a little uncertain about where to focus your attention. The set design by Rachana Jadhav is fantastic. From the disco ball and orange velour sofa to the roller shutters of the corner shop it evokes the 70s.

This is a loud, brash fun production with a brilliant cast. But don’t be fooled. The serious issues are still there. The Buddha of Suburbia explores themes of class, race and sexuality. Ultimately theatre saves Karim providing him with a way out. The Buddha of Suburbia is everything a love letter to theatre should be. Funny, passionate, at times shocking but great fun. All set to a cracking toe-tapping soundtrack from the seventies.