Thirty years after Dilwale Dulhania Le Jayenge took World Cinema by storm, Aditya Chopra brings his much-loved Bollywood romance to the UK stage with Come Fall in Love– a vibrant, full-hearted musical presented as part of the ‘Manchester Gets It First’ campaign. But how does it translate to the stage? With updates to suit a modern audience (and in line with Chopra’s original intention for the story to explore themes of blending cultures), with a sparkling new score- it’s fast-paced, occasionally far-fetched, but ultimately a joyful celebration of hope, identity and love. 

Simran (Jena Pandya) is a high-flying Oxford graduate with a head full of dreams; she’s got one month to travel around Europe with her best friend Cookie (an endlessly energetic Millie O’Connell) before returning to India for an arranged marriage that’s been years in the making. But her plans are quickly disrupted when she meets Rog (Ashley Day); a free-spirited, emotionally bruised Englishman from a broken home- his bickering, divorced parents a stark contrast to the respectful, quiet strength of Simran’s own family. Together, they create a believable clash of values. Their love story is at its strongest in song rather than speech; “Never Be Enough” is a standout- a poignant, honest ballad that anchors their speedy journey from frenemies to forbidden lovers. 

Vishal Dadlani and Sheykhar Ravjiani’s score is peppered with catchy, heartfelt moments; ‘Come Fall in Love’ is a genuine earworm- it’s still looping in my head this morning- and ‘Pigeons’, metaphorical and slightly surreal, invites the audience to think beyond the obvious. Not all songs are created equal; a few feel like filler and could be trimmed (or omitted) to allow the story more breathing room through dialogue. 

The book and lyrics, by Nell Benjamin, race through plot points at high speed; there are holes, yes, but that’s par for the course in a musical that wears its Bollywood badge of honour with pride. There are laugh-out-loud moments; family dynamics are drawn with warmth and humour; and even when logic falters, the emotional heart stays strong. 

Two supporting performances stand out: Harveen Mann-Neary’s Lajjo brings grounded wisdom and quiet strength, while Kara Lane’s Minky- glamorous, sharp, and gloriously self-assured- delivers comic timing to perfection. Her star turn in, “Hot and Independent and Hot”, is cheeky, empowering, and very nearly steals the show. 

Rob Ashford’s choreography is vibrant and varied, it aids scene transitions, making them almost seamless; the stage is used to its full effect. Linda Cho’s costumes are equally striking—vivid, traditional, and tailored with real personality to suit the cast as individuals.  

Visually, the entire confection is a treat. Derek McLane’s scenic design contrasts the muted tones of the West with the colour and openness of the East; the irony is clear, but it works. Lighting, by Japhy Weideman, transforms the space from drab to fab and the finale, set during Holi, is breath-taking—powdered colour, joy and symbolism in one glorious sweep. “This is how God sees people,” we’re told- and in that moment, we believe it. 

Come Fall in Love is not perfect; but it’s full of spirit, sincerity and celebration. It certainly doesn’t whisper its message; it sings, dances, and throws its arms wide open- and it’s hard not to fall for it. 

Come Fall in Love plays at Manchester’s Opera House until Saturday 21st June. Further information and booking details can be found

Tickets received in exchange for an honest review.

Photography by Johan Persson.