Supporting and evaluating new writing is an essential part of theatre criticism, and few opportunities are as rewarding as witnessing an international collaboration at its earliest stage. India Blog, presented this week at the Bush Theatre Studio, offered a glimpse of a fascinating cross-cultural experiment between Korea and Great Britain.
Written by Sunhee Park and featuring Sukho Jun (from the original Korean production) alongside Vincent Rosec, the piece marks the first major theatre collaboration between the two countries. Staged after only a week of rehearsal, the showcase nonetheless displayed a natural rapport between its performers and an understated confidence in its storytelling.
The play centres on Hyukjin, who embarks on his first journey abroad after discovering the travel journal of his girlfriend, Jay. On his flight to India, he meets Eric, a traveller returning to revisit the memories of a woman he once knew. Together, the pair navigate a series of shared experience – a desert safari, a plunge into cold water, a festival along the Ganges – that gradually blur cultural boundaries and personal histories.
Park’s writing, translated and adapted for London audiences, balances humour and tenderness with a contemplative tone. In a post-show Q&A, the playwright explained that this version is intentionally “softer” and “less abrasive” than its original Korean form. A notable new element invites audience members to portray Indian characters, rather than assigning these roles to the Korean or European actors on stage. The effect is participatory and inclusive, suggesting a rethinking of representation in intercultural theatre.
Although most of the dialogue is delivered in English, several moments of introspection – particularly the imagined conversations between Hyukjin and Jay – are performed in Korean and surtitled in English. These bilingual passages enrich the texture of the piece, reflecting both emotional distance and cultural duality.
Projected video footage of the creative team’s real-life journey through India fifteen years ago adds another layer of resonance. The audience is drawn into the memories of that trip, experiencing its heat, rhythm, and unpredictability through both live performance and recorded image.
Physical storytelling features prominently – swimming, riding a moped, and dancing punctuate the action – while the decision to have the two male actors briefly play female characters, “Helen” and “Sarah,” is less convincing. Those scenes feel experimental rather than essential, though they underscore the company’s willingness to test boundaries.
Despite its workshop nature, India Blog feels fully formed in tone and spirit. The piece is affectionate toward India, depicting its chaos, warmth, and contradictions with evident respect. Scenes of chai drinking, riverside rituals, and flickering candles capture a sense of place without resorting to stereotype.
With its blend of Korean, Indian, and British perspectives, the work touches on memory, identity, and cultural empathy. Supported by interpreter and assistant director Vinna Law, assistant director Arista Abbabatulia, dramaturg Grace Waga Glevey, and musician Joonyeop Kwon, Park’s production stands as a promising precursor to a planned London run in 2026.
India Blog is a modest yet heartfelt exploration of connection across continents – one that deserves its next stage of development.