South Asian Arts & Theater House's "2 Suitcases" at the Luminary Arts Center offers social commentary about domestic abuse with a Bollywood beat. (Vishwanath Somashekhar)

Melodrama, movement and music converge in South Asian Arts & Theater House’s latest production, “2 Suitcases.”

The show examines the challenges of leaving an abusive relationship — especially for immigrants. It’s an earnest take on a very real problem, and SAATH unpacks the topic’s difficult questions, infused with the flair and theatricality of Bollywood.

Formerly known as Bollywood Dance Twin Cities, SAATH changed its name in 2019 to reflect the company’s broader focus on drama, film and community engagement. But the Bollywood spirit still pulses through its work, with large-cast numbers that blend diverse dance forms. It weaves classical Indian dance vocabulary with hip-hop, and features glimpses of African dance steps, some line dancing and even a bit of tap. Movement drives SAATH’s storytelling, channeling emotion and expression.

Here are five takeaways from “2 Suitcases”:

1. Celebrating culture, and not just through dance. The SAATH performance greets patrons with samosas and chai at the Luminary Arts Center. Desi music enlivens the preshow atmosphere, and the program is filled with ads for local businesses and nonprofit organizations. On opening night Wednesday, some wore saris and embroidered tunics, adding to the festive feel. The event felt like a community gathering, and that was fitting since the company’s acronym also translates to togetherness in Hindi.

In "2 Suitcases," more than 75 performers take the stage at the Luminary Arts Center to perform large dance numbers to Bollywood beats and intimate storytelling, (Vishwanath Somashekhar)

2. Domestic abuse takes many forms. The story begins with Meera (played by Sarada Ganesh on opening night), a woman whose husband, Arjun (played by Anshul Chawla on opening night), forbids her from opening a bank account, learning to drive or pursuing her dream of earning a master’s degree in painting. He threatens to jeopardize her legal status if she leaves. These actions — though not physically violent — create a system of control and isolation, highlighting emotional and economic abuse. And it presses the point that domestic abuse is abuse even when it does not include physical violence.

3. A musical within a dance-play. When Meera’s friend Keisha Davis (Kymani Queen) introduces her to a lawyer, Rajiv (Jonathan Feld), he walks her through options as a dependent visa holder, but none seems promising. They begin researching historical case law and come across Hansaben (Anjali Gopal), a woman who immigrated in the 1970s and filed for divorce from her abusive husband. Hansaben’s story is told as a musical-within-a-play, narrated by two performers dressed as suitcases who accompany her on her journey. It’s a charming interlude featuring Gopal’s singing. (Gopal also is the show’s artistic director.)

4. There’s value in and of itself. Community theater might not deliver the technical polish of a fully professional cast but it offers authenticity, inclusivity and heart. SAATH’s large ensemble of 75 performers heightens the energy, and there’s a clear commitment to telling a meaningful story. Playwrights Lakshmi Rajaram and Varghese Alexander illuminate how domestic abuse intersects with immigration status, gender and cultural expectations.

5. The heart of the story lies in looking back. After the first act outlines Meera’s predicament and the beginning of the second act stages Hansaben’s story, the show moves briskly toward its conclusion. When the two women meet, it is satisfying — but brief. There’s a powerful suggestion that past generations clear the path for future ones, yet the show stops just short of letting that idea fully unfold. A longer encounter might have allowed the characters’ connection to resonate more deeply.