Soul food

The superb new musical "The Lunchbox" simply soars at Berkeley Rep.

Musical theater is a fascinating genre. Musicals can be absolutely brilliant, and really bad. Because musicals have to overcome the inherent artificiality of the genre—in the real world, people do not burst into song at the drop of a hat—they can be hokey and heavy-handed. But that artificiality is also their superpower. Musicals heighten emotions. They cut to the heart of a story and a character in a way that conventional drama cannot. And because music, that most sensuous and mysterious of the arts, is essential to them, they can soar.

The Lunchbox, which is receiving its world premiere at the Berkeley Repertory Theater, demonstrates just how wonderful a first-rate musical can be. Based on Ritesh Batra’s 2013 film (Batra also wrote the musical’s book and co-wrote its lyrics), with music and co-lyrics by the Lazours, The Lunchbox tells the story of two lonely people who meet by accident, thanks to an extremely rare misfire in Mumbai’s legendary lunchbox delivery system. That system, run by a 5,000-strong army of white-capped workers known as dabbawallahs, delivers tens of thousands of homemade lunches, packed in metal tins called tiffins, to office workers across the vast city. According to a Harvard Business School study, lunchboxes are delivered to the wrong address fewer than 3.4 times per million deliveries. “The Lunchbox” tells the story of one of those mistakes. It’s a small story that packs a big emotional punch.

A good-hearted widower named Fernandes receives the wrong lunchbox one day. Fernandes, played by Manu Narayan in a performance that combines acting sensitivity and powerhouse vocals, is a mensch, a lovely man, but a stoic and resigned one. The woman who sends him the lunchbox, Ila, is a quietly desperate married woman whose husband ignores her attempts to rekindle the romantic connection they once had. Ila receives a wonderful performance by Kuhoo Verma, who captures her character’s mingled strength and vulnerability, and like Narayan has a fabulous, Broadway-worthy voice. The two begin exchanging notes, at first humorous ones, then deeper missives that reveal more and more about each of their sorrows and secrets. Meanwhile, Fernandes strikes up an unexpected friendship with a hilariously irrepressible subordinate, an orphan and lovable hustler named Shaikh (in a great comedic turn by Aathaven Tharmarajah).

The audience has a sense of where this tale is going, but that doesn’t take away from its delightful power in the least. The superb production, under the first-rate direction of Rachel Chavkin, is a big part of the reason why. The gorgeous set, by Mimi Lien, is one of the most atmospheric, evocative and versatile ones seen on local stages for years. And Chavkin’s staging is an absolute delight. The streetcar scenes are marvelous, the dancing and chorography perfect, and the pacing consistently on point. The overall strength of the ensemble is outstanding. This one should be headed for Broadway.

As for the songs, they too are exceptional, and a few are spectacular. The music by the Lazours (Daniel and Patrick) is sophisticated, veering between Indian-tinged and Western in style, the lyrics are unfailingly excellent, and the all-important combination of words and music reflects a sensibility that at its best is as deep, literary, and psychologically penetrating as Sondheim. The musicians, led by music director Sheela Ramesh, were superb. Fernandes’s climactic song is a musical theater masterpiece. When the final plot twist takes place, even though we suspect it’s coming, it’s genuinely moving. The full house rose as one and gave the cast a heartfelt, and well-deserved, standing ovation.

Berkeley Rep is on a roll. Its extraordinary production of Arthur Miller’s All My Sons was the theatrical event of the year, and The Lunchbox is a brilliant and heartwarming finale to a memorable season.

The Luncbox runs through July 12. For tickets and more information, click here.