A bold and ambitious piece
Completely engaging from curtain up, Shaan Sahota’s The Estate introduces us to Angad Singh, MP for Reading Central and Shadow Secretary of State for the backwater department of Environment, Food and Rural Affairs, writes Katie Kelly.
When the sudden downfall of his party leader opens a path to power, Angad must decide: will he run for leader, or won’t he? His office team, full of youthful ambition, leaps into action—until a deeper crisis hits. His father, the man who paved Angad’s way to Parliament after arriving in Britain in 1978 with barely a suitcase, dies.
A more intimate question then arises: will Angad honour his promise to divide the estate with his sisters, Malicka and Gyan, or will he claim the full inheritance, risking both family harmony and political opportunity?
These two narrative threads—the public and the personal—initially complement each other, but diverge increasingly as the play progresses. The political satire leans on familiar tropes: Oxbridge-educated schemers and their vacuous power play. It’s occasionally sharp but mostly lacks originality or depth. There is a slightly deeper exploration of the toxicity of public schools —particularly in a subplot around a vile hazing ‘game’ inflicted on Angad in his youth there, but this doesn’t break any new ground.
In contrast, the family drama grows in emotional weight and complexity. Angad’s betrayal of his sisters leads to scenes of real emotional pain and visceral tension. This strand of the play is powerful – at times breathtaking – and is anchored by a superb performance from Adheel Akhtar. He moves effortlessly between affable self-deprecating humour, raw vulnerability and viciousness; delivering long monologues and emotional pivots with masterful control. His ability to pack volumes of meaning into a single line or gesture is extraordinary.
Akhtar is ably supported by the ensemble. Shelley Conn, Dinita Gohil, and Thusitha Jayasundera bring depth and presence, while Fode Simbo is hilarious and engaging as Isaac, the diversity scheme hire.
Yet as the emotional stakes rise, the tonal whiplash between farce and tragedy becomes harder to reconcile. Some comedic set-pieces land well—particularly a party conference speech with all the hallmarks of classic farce—but the laughs thin out as the play delves into darker territory.
The Estate resists easy categorisation. It aims to blend satire with familial tragedy, but the political strand never quite earns its place alongside the far more compelling personal drama. Still, it’s a bold and ambitious piece, gripping from start to finish. Some sharp new writing elevated by a cast capable of handling both the comic and the tragic with real finesse.
Dorfman Theatre, National Theatre, South Bank, London, SE1 9PX until 23rd August.
Booking and full details: https://www.nationaltheatre.org.uk/productions/the-estate/
