Page extent: 80
ISBN: 9781786821430
Binding: PaperBack

Guards at the Taj

Rajiv Joseph

PaperBack (07 Apr 2017)

It’s 1648. Agra, India. Imperial guards keep watch as the final touches are put to the mighty Taj Mahal behind them. The emperor has decreed that no one shall turn to look at the building until it is complete. Now, as the building nears completion and the first light catches on the pure white domes behind them, the temptation to steal a glance at the most beautiful monument the world has ever seen grows stronger.

Guards at the Taj takes as its starting point an enduring legend and prompts contemporary audiences to revisit questions about art and privilege. 

Additional Information

ISBN13 9781786821430
Binding PaperBack
Page Extent 80


'an engaging, intimate and briefly gruesome 80-minute piece... a welcome reminder of this venue's particular brand of magic.' Evening Standard ★★★★

'Bleak, thought-provoking satire... [this] short, dense, resonant 'Guards at the Taj' is a striking show to reopen the recently refurbished Bush Theatre... an interesting new voice.' Time Out ★★★★

'The play is a plea (albeit a jokey and blood-spattered one), for inclusion, and it’s easy to understand why artistic director Madani Younis might have picked it to welcome people back to the Bush.' The Stage

'Rajiv Joseph’s philosophical, whimsical play brings immensity to a small space.' Susannah Clapp, Observer

'Joseph uses [the story] to explore, in a way that is intelligent without being overwhelmingly dramatic, a number of philosophical ideas. One is whether there is something self-defeating about artistic perfection that defies repetition. Another is whether there are any limits to the human quest for knowledge... All of this, as well as the portrait of the capricious arbitrariness of absolute power, is fascinating.' Michael Billington, Guardian

‘Rajiv Joseph’s excellent play seizes on some potent philosophical issues and gives them a terrific comic snap and a sense of the wounding beauteous wonder of the ineffable- as has become par for plays in the tradition of Waiting for Godot and Rosencratz and Guildenstern.’ Paul Taylor, Independent

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