Two Billion Beats (NHB Modern Plays)

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The younger sister, Bettina – Year Ten to Ascha’s Year Thirteen – can be seen as a victim of this fall-out. All she wants is for Ascha to be on the bus home with her so that she doesn’t have to receive the unwelcome, even bullying, attentions of Adil and his mates. Asha is waiting to go home until their mum has left for work so she doesn’t have to talk about her history essay. She got 85%, but her mum only cares about the fact that she criticised Gandhi’s views on the Dalit, the lowest Indian caste of "untouchables". Asha admires B R Ambedkar, the lawyer (and Dalit himself) who played a key role in drafting the Indian constitution. Her mum thinks her teacher won’t be so complimentary when Asha goes for her heroes, the Pankhursts. Bettina just wants her sister to help her deal with Adil and the other bullies on the bus. And also a hamster, whom she plans on naming after Cardi B. Asha is full of righteous indignation at the way that the Dalit were (and are) treated, at the slander Sylvia Pankhurst’s pacifism provoked from her mother and sister. She’s compassionate but proud too, flush with teenage conviction that she is right. There’s a palpable change in Ingar when it becomes clear that a throwaway comment from Bettina could have a lasting impact on Muslim Adil’s life, as if we’re watching Asha grow up in front of our eyes.

In fact, Asha’s own passionate desire to do the right thing is so strong that it takes over the plotting of the final third of the play, which becomes increasingly unconvincing despite the charm and humour of the writing. A sharper dose of realism would have worked better, and made the anti-racist strand much stronger. Still, there is much to enjoy in the playwright’s depiction of the two girls, their sibling banter, and their delight in standing up to bullies, especially the heart-warming dance sequence to Cardi B’s “Money” – a moment of pure joy. Safiyya Ingar is an energetic Asha; fiercely intelligent and bursting with energy and indignation at the unfairness of life. The character embraces all the idealism of youth with an uncompromising commitment to her principals, exasperated with what she sees as injustice and double standards in the world. Ingar is spirited and brimming with energy; she shows defiance and pride, but also snippets of vulnerability, especially regarding her sometimes fractious relationship with her mother. The set itself is relatively simple, with the lighting and sound effects transporting the action to a dingy bus stop or a childhood bedroom. They also use smartphones to great effect, whether it’s Bettina showing pictures of the much sought-after hamster to her sister, or Asha being caught out – she’s not listening to Stormzy, she’s listening to an audio book about Sylvia Pankhurst. With just the two on-stage characters, there’s a lot of exposition rather than dramatization, and a lot of recollections of events that had already taken place. I think the actors would have been more than capable of personifying, for instance, the siblings’ mother, or at least some of the other pupils they regularly interact with, whether constructively and positively or not. I’m not sure the inclusion of an actual hamster, albeit in a suitable cage, added much to proceedings, though there are, at least, no concerns over animal welfare to report.Conscientious and questing, she may have just got excellent marks for her history essay but, in her mother’s eyes she has committed an unpardonable slander in daring to criticise the Mahatma; if anything should be untouchable, it is his reputation. Not so, argues Ascha; the proper object of admiration should be none other than a Dalit, B. R. Ambedkar, who played a crucial role in drafting the Indian constitution. Two Billion Beats is a highly believable snapshot of modern adolescent life that also manages to touch on many enduring themes. The production should resonate with everyone; much of the language may be very much of today, but the themes of teenage idealism and trying to find your place in the world are universally timeless. In such areas, Bhattacharyya’s dialogue is beautifully nuanced between the competing forces of moral rage and personal yearnings, public affairs and private ones.

First seen in a 20-minute version in April 2021, as part of the Orange Tree's foray into theatrical streaming Outside, Two Billion Beats is Sonali Bhattacharyya's engaging and vibrant play that explores the relationship between two South Asian teenage sisters as they confront injustice, racism and the realities of growing up. The presence of South Asian characters in British theatre is not the extreme rarity it once was. Whilst South Asians and people of colour more widely are still hugely underrepresented in theatre – as actors, writers, directors and in storylines – there has undoubtedly been some progress in recent years. What remains less visible, however, is South Asian characters engaging in rich discussions of history in all its complexity, from a questioning, left-wing perspective. If this is not for you, you should probably avoid playwright and Momentum activist Sonali Bhattacharyya’s Two Billion Beats, showing now at London’s Orange Tree Theatre. The two actors have a nice, sparky chemistry together: Chadha is sweet and Ingar is sassy but there’s a real easy warmth between them and a sense of their care for each other. A two-handed coming of age story set in the round, about many things, but most notably accepting the nuanced flaws of individuals. Written by young award-winning playwright Sonali Bhattacharyya, the play maintains her focus on illuminating the stories of the marginalised and democratising dramatization. It delves into numerous topical and ethical questions of morality and our selection of role models. It aims to prescribe and confront too many contemporary societal issues, sometimes without forming the full necessary space for their exploration.Recently reviewed at this venue: Rice | ★★★★ | October 2021 While the Sun Shines | ★★★★ | November 2021 Safiyya Ingar and Anoushka Chadha beautifully portray the sisters with such depth and humour, pushing each other’s buttons with rage and burning sisterly love…Energetic and gripping.” North West End Nimmo Ismail's pacey direction means there is no lull in the energy of the production. Asha and Bettina constantly move; walking, climbing and once breaking into a joyful dance. There has been real consideration of the space of the Orange Tree, with Debbie Duru's simple design capturing the concrete surroundings of the girls' school.