A world-premiere dramedy about food, family, and figuring out the future, "House of India" is a flavorful new production written by San Diego playwright Deepak Kumar and directed by Zi Alikhan. It's a heartfelt, humorous, and occasionally dramatic look at tradition, legacy, and living a life of your dreams, not someone else's. The show is playing at The Old Globe through June 8th.

At the story's center is Ananya (Mahira Kakkar), a widow trying to keep her late husband’s beloved Indian restaurant afloat in a dying strip mall outside Cleveland. She has two children: her hardworking daughter Vaidehi (Supriya Ganesh), who’s been holding everything together with sheer will and sarcasm, and her eldest son Vikram (Deven Kolluri), who returns unannounced after a three-year absence in New York, where he was working on his book. There’s also Jacob (Tommy Bo), the restaurant’s spirited cook, who’s practically family, even if he's technically not family (or even Indian—he’s Thai, but has been around since his childhood Friday dinners there).

(from left) Supriya Ganesh as Vaidehi, Mahira Kakkar as Ananya, De ven Kolluri as Vikram, and Tommy Bo as Jacob in *House of India*, 2025. Photo by Jim Cox.

The restaurant isn’t just a family business; it’s a shrine to Ananya’s husband’s dream, which they all work hard to keep alive. But when it’s vandalized and the bills keep piling up, Jacob proposes a bold rebrand: Indian-Mexican fusion, complete with “Indian tacos.” Ananya’s response lands between scandalized and skeptical, while Vaidehi’s response is more angry and annoyed. ( Personally? It sounds delicious.)

Directed by Zi Alikhan, this family is engaging and feels like people you know. The conflict between generations, the arguments on how to proceed, and what to compromise on (like how and what to leverage social media) also feels relatable. There are lovely moments of humor throughout. The themes of assimilation, legacy, and identity are never far from the surface in Deepak Kumar’s writing, but the script also captures modern life with warmth and wit.

Mahira Kakkar's Ananya is the emotional anchor of the play. Her character is filled with expressive nuance and warmth, making her entirely believable. Whether she’s sharing memories of her husband or struggling to process all of the change and secrets that are happening around her, she’s the glue that holds not just this fictional family but the entire production together.

The sibling energy between Vaidehi, Vikram, and Jacob is excellent. They bicker, joke, and support each other. The quick way they switch sides for and against each other (and the tattling to Mom) feels very real.

Supriya Ganesh as Vaidehi and Mahira Kakkar as Ananya in *House of India*, 2025. Photo by Jim Cox.

Supriya Ganesh makes daughter Vaidehi’s exhaustion from burning the candle at both ends palpable while also showcasing the characters' humor and wit. Her reactions during scenes, like her delightfully on-point sibling reaction when her mother immediately starts fawning over golden boy Vikram at his return, are especially funny.

Tommy Bo’s Jacob is filled with boundless energy and optimism, full of big ideas and chaotic kitchen energy. However, he has a softer, more vulnerable side when alone with Ananya. His methods and occasional tone may not always be the best, but his motivations are deeply personal—he wants this family (his chosen family and career) to thrive.

Deven Kolluri's Vikram has an unhurried and seemingly unbothered energy as a son who has been a bit of a stranger to the family for the past three years but is trying to catch up (though please don’t ask him to cook).

The scenic design by Chika Shimizu and the lighting design by Cha See work together beautifully. The set starts as a more formal Indian eatery: plush carpet, linens, and a traditional chandelier. But when the restaurant and the family are forced to reinvent themselves, the set cleverly shifts to a sleek, modern dining space—metallic, minimalist, and accented by neon lights. The change is both visual and symbolic, and it’s executed with seamless theatrical flair that had the audience applauding.

It's a strong and enjoyable world premiere, though some scenes could benefit from trimming, and Vikram’s character feels slightly undercooked compared to the others.

House of India may still be finding its final shape, but it is a promising, emotionally resonant debut with a strong ensemble and creative direction. Whether or not you’re sold on Indian tacos, this play proves that sometimes fusion is exactly what we need.