When love defies labels, faith, and family expectations, the results can be both beautiful and brutal. That emotional paradox lies at the heart of a powerful new stage play making its way to New York’s Off-Broadway scene later this month. 

Staged over four performances from November 20-23, 2025, the three-act production follows two interfaith couples, Neel and Nadia, Aslam and Smita, whose relationships blossom despite, and ultimately suffer under, the weight of societal divides.

With a double cast and an unflinching script, the play explores the quiet ache of those caught between devotion and duty, tenderness and tradition.

The script pushed me to revisit historical events from the Mughal Invasion to the India-Pakistan partition. I was compelled to understand what has made humanity so inhumane, and why the hatred we see today feels stronger than love. The story is set against the backdrop of a scientific AI conference as the meeting ground for Neel Gandhi and Mohammed Aslam, emphasizing the narrative that no matter how educated we become, the depth of this division remains.

Dr. Subrata Das, SETU Co-Founder, Playwright, and Director, says: “The idea of GaM is largely influenced by SETU’s mission to highlight social issues, combined with my personal experience growing up in a remote village in West Bengal, India, alongside a Muslim community. I witnessed the artificial social and religious boundaries that create significant obstacles to interfaith unions, as portrayed in the play. With a stronger focus on community awareness, social change is a consequence.”

As narrated by writer/director Das in the playwright’s introduction, humans are indeed fallible, no society is flawless, and no religion is entirely pure. While the play acknowledges these imperfections, they are not its central focus; instead, they lay the groundwork for exploring the conflicts essential to compelling drama.

At its core, this play seeks to depict both the virtues and the darker aspects within the pluralistic landscapes of Indian society and religion. He goes on to explain that he strove for balance in the script while taking an organic rather than a calculated or forced approach. The story intends to connect the dots between scientifically advanced minds and teachings from ancient sacred texts, leveraging quotes from the Quran and the Upanishads, portrayed through a diverse array of characters from various corners of society to create a microcosm of India’s vibrant diaspora.

For young people in interfaith relationships, the emotional and mental toll is profound. Love between individuals of different faiths often invites disapproval, rejection, and even violence from their families and communities. Many are forced to hide their relationships, or worse, abandon them, to avoid the wrath of societal or familial judgment. The pressure to conform to entrenched religious and cultural norms erodes their sense of self-worth, causing them to question their right to love freely.

However, despite the widespread opposition, there is growing resistance. Many young people, particularly in urban areas, are challenging societal norms. Some couples are finding support in one another, while legal reforms and landmark court rulings are gradually shifting public opinion. These rulings, affirming the right to marry across religious lines, offer hope to those who long for a society where love transcends religion and caste.

The battle for acceptance is far from over, but the voices of young lovers are growing louder. They are not only fighting for their right to love; they are advocating for a society where personal freedom is not constrained by religious identity.

It is now up to us, the social creatures of this world, to evolve and accept this change – or remain ignorant, despite the awareness that science and technology have made possible. We created the rules of society, and it is up to us to refine them as we evolve. It is a choice we must make: to embrace love, to embrace whom our loved ones choose to love, or to push them into the shadows from which they may never rise. It is for all of us to pledge to eradicate the hatred in our hearts and nurture love – love like that between Neel and Nadia, and Aslam and Smita.

Dr. Jayanti Bandyopadhyay, SETU Co-Founder, veteran in-house actor, and costume director, says: “I believe in harmony among all religions, and divisiveness is not divinity. Divinity lies in realizing that serving humanity and respecting all faiths is true devotion. In GaM, I portray the protagonist’s mother, Leela Gandhi, who is torn between tradition and her son’s love. Her love is unconditional, but her fears are real. Portraying her deep anxiety and emotional struggle has been both challenging and rewarding. Her journey is one many will relate to.”

This production has stirred many “whys” in my mind – questions that I am still grappling with. I grew up in a defense colony during the 80s and 90s, and my father’s job took us to different parts of India, where I encountered people from diverse faiths and backgrounds. I quickly adapted to new cities, schools, cultures, festivals, and friendships. A common feature in every Kendriya Vidyalaya school I attended was the morning assembly, where we sang community songs like “Mazhab nahi sikhata aapas mein bair rakhna” and “Hind desh ke niwasi sabhi jan ek hai, rang roop vesh bhasha chahe anek hai.” I sang these songs with full conviction, but every evening, the news contradicted the messages of unity. We saw images of temples burning, mosques being demolished, and train carnage – each report followed by the patriotic strains of “Mile Sur Mera Tumhara, to Sur Bane Humara.”

It was confusing. While politicians and celebrities made sincere efforts to promote unity, the reality seemed one of division. We were told we were secular, yet our society struggled to embody that ideal. Looking back with a greater understanding of post-partition trauma – where families were displaced, killed, raped, and otherwise torn apart by the violence that followed India’s independence – I now see that the idealized narrative we learned about independence, as encapsulated in Nehru’s “Tryst with Destiny” speech, was just that – an idealized narrative, not fully representative of the truth. The origins of tension between Hindus and Muslims can be traced back to British colonial rule. Through their “divide and rule” tactics, the British exacerbated religious divides to maintain control over the subcontinent.

This divide deepened during the struggle for independence, when Hindus and Muslims were pitted against each other politically and socially. The wounds of partition, both physical and psychological, continue to shape our society to this day. The trauma that families endured – losing loved ones, homes, and wealth – has created deep scars. This history fuels the ongoing opposition to interfaith relationships, especially between Hindus and Muslims. While such relationships aren’t universally opposed, the stigma and rejection faced by interfaith couples persist, rooted in centuries of political, religious, and social history. The divide, compounded by colonial rule and the subsequent partition, has created an enduring trauma that shapes societal norms even today.

We spoke with the cast members to learn how they prepare for these demanding productions and their reflections on being part of SETU’s community theatre. Listening to their experiences was truly enriching, and it was inspiring to see how they carve out time from their busy schedules to pursue artistic passions and contribute to meaningful social conversations.

“Preparing for a role involves deep script analysis, experimenting with expressions, and fully immersing in the character’s emotions. Playing dual roles in this play challenged me to master quick transitions, contrasting mannerisms, and distinct dialogue delivery.” – Rimi Sarkar, main protagonist, playing Nadia and Smita.

“Portraying Sabina required deep research into her upbringing, beliefs, and the societal changes shaping her world.” – Cini Murali, protagonist’s sister, Sabina.

“I approach each role by fully embodying the character’s motivations and physicality, ensuring natural reactions on stage. Theatre is my creative escape, balancing my structured day job, while the friendships and connections I make bring me the most joy.” – Dheeraj Prasad, portraying the protagonist’s father, Baashir Khan.

“I prepare for each role by fully immersing myself in the script, asking the 5 Ws (Who, What, Why, Where & When), and understanding the deeper message. For GaM, educating myself on its powerful theme transformed my performance, making it more authentic.” – Manish Dhall, central protagonist, Neel Gandhi in Cast Belief.

“Acting is my escape from the real world – I immerse myself in the character’s vibe, energy, and voice. Tragedy has clarity, but comedy is a challenge; if it doesn’t land, it falls flat. Balancing work and theater is tough, but SETU gave me a stage, and the least I can do is commit. The true reward? The sheer joy of being there and doing it – something I’ll be forever grateful for.” – Nirosh Kumar Kalasikam, central protagonist, Neel Gandhi in Cast Faith.

“For me, Dadi – the grandmother – is the personification of a stereotypical bigoted older person, an amalgamation of what I have seen in people who are filled with hate due to their firm but misguided beliefs.” – Jyoti Ramakrishna, portraying the grandmother of Smita, Usha Rani Yadav, in Cast Belief.

This play, When Gandhi and Mohammed Meet, portrays one such story, yet it echoes many others destroyed by the poison of social and religious fundamentalism – an ideology often not based on sacred texts but rather on misinterpretations meant to perpetuate hatred.

In one scene, the protagonist’s sister, Sabina, questions whether the teaching in the Quran, Surah Al-Hujurat (49:13), that “Allah created us in different tribes and nations so that we might know one another, not despise one another,” really holds true amidst cultural division and societal pressures.

In another scene, the central characters reflect on the teachings from the Brihadaranyaka Upanishad, Chapter 2, Section 4, Verse 5: “Love is universal, indistinguishable in essence. If, as the Upanishads say, all love is ultimately for the sake of the self – the non-duality of Atman and Brahman, the great unifier of the universe – then if I have the right to love this universal self, what difference does it make if a Muslim man loves and marries a Hindu woman, or a Hindu man does the same?”

The play is filled with moments that highlight conflicting social and religious messages deeply ingrained in our beliefs, making it difficult to take a clear stance on these taboo subjects.

Come join us on an eye-opening journey to explore the social, legal, and political implications of love – a fundamental human emotion – when it transcends faiths and threatens to disrupt the fabric of society.

We hope to see you on show days to support the SETU GaM team and help community theatre thrive, bringing you more relevant stories in the future.

SETU (Stage Ensemble Theatre Unit), a non-profit organization, has been serving the New England community for 20 years with powerful, socially conscious plays. Please visit www.setu.us for further details.

Disclaimer: The opinions and views expressed in this article/column are those of the author(s) and do not necessarily reflect the views or positions of South Asian Herald.

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