The show proves that all that glitters isn’t gold in the world of Bollywood, but there’s still plenty of Bollywood razzle-dazzle in this production.
by Sarah Becker
There’s no shortage of sparkle in Frankie Goes to Bollywood, a production that leans wholeheartedly into the glamour of Bollywood. Yet, this rags-to-riches tale doesn’t take itself too seriously.
Frankie Goes to Bollywood was created by Rifco Theatre Company, an important British Asian voice in UK theatre, known for platforming British South Asian stories, directed by Pravesh Kumar, and co-written by Niraj Chag and Tasha Taylor-Johnson.
The storyline follows Frankie (Sarah Pearson), a cinema usher who dreams of finding a sense of family on the big screen. While supporting a friend auditioning for a role in a Bollywood film, she unexpectedly lands a part herself and is whisked away into the world of Bollywood, achieving her dream. Yet, as the show reminds us, all that glitters is not gold in this dazzling industry.
If you’re expecting big, bold, brash Bollywood numbers throughout, you may need to rein in those expectations slightly. The show truly comes into its own in the second half, where the the stage and costumes burst into life. Costumes dazzle in vivid colour, paired with lively, Bhangra-inspired choreography that brings an infectious sense of celebration. The dancing, in particular, is a standout—fun, energetic, and unmistakably Bollywood in spirit.
Visually, the set design deserves praise. Framed by Taj Mahal-esque arches that shift through different colours, the staging gives the performance a bold and modern visual identity. These constant changes keep the stage feeling dynamic, even when the narrative occasionally treads familiar ground.
At its core, the story follows a familiar path: a young cinema usher with dreams of stardom is plucked from obscurity and thrust into the dazzling world of not Hollywood, but Bollywood — a distinction that brings its own unique glamour, fun and challenges. Yet, as expected, fame comes at a cost, with the show exploring themes of exploitation, superficiality, and the pressures placed on women in the industry.
Tonally, the production doesn’t take itself too seriously – there’s a generous helping of camp and cheese – and often pokes fun at familiar Bollywood tropes. Woven into the narrative are also subtle reflections on the challenges women face within the industry, culminating in a final turning point where the women take control and choose to produce their own film.
At times, the blend of parody and drama raises ambiguity about the production’s intent: is it satire, meaningful commentary, or just light entertainment?
The highlights are undoubtedly the ensemble song-and-dance numbers, particularly in the second half of the show. The cast’s enthusiasm carries the production forward, with energy peaking during these vibrant sequences.
Sarah Pearson as Frankie gives a spirited performance as Frankie managing the transition from usher to starlet to feminist with confidence.
Ankur Sabharwal gives an entertaining performance as aging Bollywood superstar Raju King, and there are engaging performances by Akshay Datta as idealistic young director Prem Meher and Pavri Mallika as the Queen of Bollywood, Malika.
In the foyer, it was also a joy to see many audience members dressed in wonderful attire, resplendent in decorative traditional Indian dress, adding to the celebratory atmosphere of the evening.
Frankie Goes to Bollywood may not quite strike the perfect balance, but it offers plenty of entertainment. Bolstered by vibrant visuals, spirited dance, and plenty of laughs, it reminds us that behind the glamour, reality is often far from the glittering dream.
Frankie goes to Bollywood runs at the Royal & Derngate until Saturday 18th April 2026. For tickets visit: https://royalandderngate.co.uk/whats-on/. For details of the full UK tour visit: https://www.rifcotheatre.com/live-shows/frankie-goes-to-bollywood-2
Photography by Richard Lakos