Indian Ink
Photo credit Johan Persson
Indian Ink is a richly layered drama by acclaimed British playwright Sir Tom Stoppard. Originally written in 1995, the play is now getting its first major revival in over thirty years, and last night I attended opening night at Bath Theatre Royal.
Sir Tom Stoppard was one of the most celebrated playwrights of recent times, renowned for his razor-sharp wit, intellectual brilliance, and extraordinary command of language. Often described as one of theatre’s most “literary” voices, this feels especially true in Indian Ink; a witty and lyrical play exploring art, colonialism, memory, and desire.
Indian Ink is a play that shifts between 1930s India and the present day. It follows a fictional character named Flora Crewe, who travels to India for her health, and becomes the subject of a portrait by a local artist. She is depicted as a free-spirited English poet and her story is explored through letters and memories fifty years later. Flora is very strongly inspired by (and written in the style of) the kind of women who existed in the Bloomsbury orbit; particularly the intellectual, sexually independent, artistic women of the early twentieth century.
Sir Tom Stoppard was one of the most celebrated playwrights of recent times, renowned for his razor-sharp wit, intellectual brilliance, and extraordinary command of language. Often described as one of theatre’s most “literary” voices, this feels especially true in Indian Ink; a witty and lyrical play exploring art, colonialism, memory, and desire.
Indian Ink is a play that shifts between 1930s India and the present day. It follows a fictional character named Flora Crewe, who travels to India for her health, and becomes the subject of a portrait by a local artist. She is depicted as a free-spirited English poet and her story is explored through letters and memories fifty years later. Flora is very strongly inspired by (and written in the style of) the kind of women who existed in the Bloomsbury orbit; particularly the intellectual, sexually independent, artistic women of the early twentieth century.
Photo credit Johan Persson
I can’t help but think this play will be a real treat for fellow book lovers. It romanticises the idea of literature. Indian Ink has that wonderful feeling of reading an old collection of letters or a rediscovered biography, as if you’ve come across a fascinating modernist writer and are slowly piecing together her life through scattered clues.
What unfolds is far more complex than a simple tale of travel and romance. Instead, we are offered an exploration of culture, artistic expression, and the deeply personal ways in which we leave traces of ourselves behind.
At the heart of this production is Felicity Kendal, who delivers a performance that balances charm with emotional depth. There is an unmistakable warmth to her portrayal, and she captures Mrs Swan’s sharp intelligence and playful wit beautifully, while also allowing quieter, more vulnerable moments to settle with emotional weight. Kendal brings a sense of authenticity to the role, playing the character with an ease that makes her instantly compelling to watch.
Ruby Ashbourne Serkis was captivating throughout, delivering a performance filled with quiet intensity and impressive emotional range. Aaron Gill was equally excellent, bringing energy, charisma and sharp timing, and together they formed a brilliant counterpart to Felicity Kendal’s commanding stage presence.
What unfolds is far more complex than a simple tale of travel and romance. Instead, we are offered an exploration of culture, artistic expression, and the deeply personal ways in which we leave traces of ourselves behind.
At the heart of this production is Felicity Kendal, who delivers a performance that balances charm with emotional depth. There is an unmistakable warmth to her portrayal, and she captures Mrs Swan’s sharp intelligence and playful wit beautifully, while also allowing quieter, more vulnerable moments to settle with emotional weight. Kendal brings a sense of authenticity to the role, playing the character with an ease that makes her instantly compelling to watch.
Ruby Ashbourne Serkis was captivating throughout, delivering a performance filled with quiet intensity and impressive emotional range. Aaron Gill was equally excellent, bringing energy, charisma and sharp timing, and together they formed a brilliant counterpart to Felicity Kendal’s commanding stage presence.
Photo credit Johan Persson
Stoppard’s dialogue is clever without ever feeling showy, and the script is filled with many moments of humour that land naturally, as well as lines that linger long after the curtain falls. It is part romance, part literary drama, part political commentary. But above all, this play is a deeply human story about memory, identity, and what it means to truly be seen. Indian Ink asks thoughtful questions without ever becoming heavy-handed, leaving space for the audience to reflect and interpret.
Visually, the production is equally impressive. The staging is understated yet effective, allowing the audience to easily imagine the intense heat and atmosphere of India without distracting from the intimacy of the drama. Costumes and lighting contribute to the sense of shifting worlds, and there is a softness to the overall aesthetic that perfectly complements the play’s reflective tone. It serves as a moving meditation on art.
Ultimately, Indian Ink is a beautifully crafted piece of theatre: intelligent, thoughtful, and quietly moving. With Felicity Kendal at its centre, and supported by a wonderful cast throughout, this production feels like something special; a reminder of the power of theatre to take us somewhere else entirely. It is a treat to welcome back Felicity Kendal and add this to the list of her many appearances at the Theatre Royal Bath. think anyone who loves literature will find a lot to enjoy here, as I certainly did.
Visually, the production is equally impressive. The staging is understated yet effective, allowing the audience to easily imagine the intense heat and atmosphere of India without distracting from the intimacy of the drama. Costumes and lighting contribute to the sense of shifting worlds, and there is a softness to the overall aesthetic that perfectly complements the play’s reflective tone. It serves as a moving meditation on art.
Ultimately, Indian Ink is a beautifully crafted piece of theatre: intelligent, thoughtful, and quietly moving. With Felicity Kendal at its centre, and supported by a wonderful cast throughout, this production feels like something special; a reminder of the power of theatre to take us somewhere else entirely. It is a treat to welcome back Felicity Kendal and add this to the list of her many appearances at the Theatre Royal Bath. think anyone who loves literature will find a lot to enjoy here, as I certainly did.
Indian Ink is now showing at Bath’s Theatre Royal 10th - 14th February 2026.