Sweetmeats at the Bush Theatre – review

A Tara Theatre and Bush Theatre co-production, Sweetmeats is a tender love story written by Karim Khan, following two South Asian elders who develop a connection in the most unlikely place.

Hema (Shobu Kapoor) and Liaquat (Rehan Sheikh) meet at a Type 2 diabetes workshop, where they are paired together for tasks. Hema is organised and determined to change her habits, while Liaquat’s mischievous demeanour disrupts her strict routine. As they spend more time together, their relationship blossoms into something neither of them expects. Liaquat shows Hema the small joys in life, while Hema provides guidance and companionship. Could this be another chance at romance?

The play explores love and loss, while sensitively highlighting the reality of living with diabetes. Khan’s writing is warm, endearing, and feels so comforting. He creates charming characters and provides authentic storytelling; Hindi is naturally woven into the script, while cultural references further enhance the play’s authenticity. We spy leftover food stored in old ice cream tubs, stretching backs to ease aches, and bantering about which country had the best mangoes. These moments instantly feel familiar to diaspora audiences. The play also touches upon the historical conflict between India and Pakistan, with both characters sharing their experiences.

Aldo Vázquez’s detailed two-level set design is impressive, showing the characters’ living spaces, the kitchen, the bus stop, their workshop room, and a garden. The staging is expansive, yet still feels intimate. Simeon Miller’s lighting design is also effective in foreshadowing, with striking lights during urgent scenes.

Kapoor and Sheikh deliver strong performances, with undeniable chemistry. Hema’s quick wit pairs wonderfully with Liaquat’s playful charm. Their sarcastic exchanges are performed with brilliant comic timing. Yet even with the adorable scenes, the show sensitively explores grief and its lasting impact. Liaquat holds onto the memory of his late wife, replaying old recordings of her voice, while Hema, widowed young, carries anxiety and appears to have internalised the idea that sweet treats must be justified rather than enjoyed. Their vulnerability and shared loneliness push them together, and we see some real tender moments.

Directed by Natasha Kathi-Chandra, Tara Theatre’s artistic director, the show resists portraying two older South Asian characters as stereotypes defined by age or illness. Kathi-Chandra leans into the script’s charm and playfulness, allowing the characters to banter, flirt, and experience joy again.

The production ably frames food as a means of connection and affection: moments like gifting homemade items and sharing recipes may seem small, but they are significant gestures.

Running for two hours and 30 minutes, the pacing occasionally feels stretched by pauses and long scene transitions. At this length, it would have been nice to expand on Hema’s character in more depth. Perhaps exploring the relationship with her son, as he is mentioned often.

Still, the play is certainly sweet and a refreshing reminder that older people can experience romance and connection, regardless of their circumstances. Sweetmeats is a beautiful, heartwarming story, filled with genuinely touching moments.