Asha Bhosle, who changed face of Indian commercial music, turns 90
The iconic singer celebrates her 90th birthday this week and to mark the landmark occasion, Eastern Eye decided to present 90 magic moments from her phenomenal life
By Asjad NazirSep 08, 2023
IN TERMS of ability, longevity, versatility, body of work and global impact, Asha Bhosle is regarded by most as India’s greatest singer of all time.
Born on September 8, 1933, the most recorded artist in history changed the face of commercial music in India and entertained countless people across different generations, in a career that has lasted more than 70 years. She has also inspired singers and musicians, been part of formidable moments in history and performed at major venues around the world. The iconic singer celebrates her 90th birthday this week and to mark the landmark occasion, Eastern Eye decided to present 90 magic moments from her phenomenal life.
The legendary singer was born as Asha Mangeshkar on September 8, 1933. The nine-year-old started working as a singer and actress with her elder sister Lata Mangeshkar to support the family soon after their father died.
The 10-year-old Asha sang her first film song Chala Chala Nav Bala for the Marathi film Majha Bal (1943).
She made her Hindi film debut with the song Saawan Aaya for the film Chunariya (1948), as a teenager.
Asha delivered her first solo Hindi film song for the movie Raat Ki Raani (1949).
She inspiringly became a single working mother at a young age after separating from her much older husband, to provide for her children. Asha had said: “After my marriage ended, I saw a lot of poverty. I raised three children all by myself. I would get up early, do household chores and leave home by 7am for work.”
By walking away from an abusive marriage, she showed great inner strength and became an early role model for single mothers.
During her early days of struggle in the 1950’s Asha only got songs top singers like Geeta Dutt, Shamshad Begum and Lata Mangeshkar turned down, but used that to prove her ability.
She got recognition after singing for the film Sangdil (1952).
The singer teamed up with future composing legend Khayyam for songs in cult classic Footpath (1953). They would team up decades later for the Umrao Jaan (1981) songs.
Bimal Roy was the first major filmmaker to take a chance on Asha by getting her to sing for his award-winning film Parineeta (1953).
She gained further recognition for her songs in cult classic Boot Polish (1954). Her duet with Mohammed Rafi (above), Nanhe Munne Bachcha became a huge hit.
She sang the patriotic song Sabarmati Ke Sant, which was dedicated to Mahatma Gandhi and helped the film Jagriti (1954) win a coveted National Award.
The singer had a star-making moment with CID (1956) song O Leke Pehla Pehla Pyar (1956) and formed a dream team with ace composer OP Nayyar.
Her popular song Eena Meena Deeka from Aasha (1957) is one of Hindi cinema’s first rock ‘n’ roll numbers. It shows no one could do upbeat numbers in the golden era of Bollywood quite like Asha.
Blockbuster hit Naya Daur (1957) established Asha as a force to be reckoned with after she delivered hit songs like Uden Jab Jab Zulfen Teri.
Songs from path-breaking rock ’n’ roll classic Tumsa Nahin Dekha(1957) further established the singer. Like Naya Daur, OP Nayar brought out the best in her.
Many top music producers refused to work with Asha out of loyalty to her sister Lata Mangeshkar, who she was estranged from at the time, but it did not stop the singer from succeeding.
Asha sang her first Bengali songs in 1958 under the banner of HMV.
She continued the dream run of soundtracks with OP Nayyar (above) by singing unforgettable classics in Howrah Bridge (1958), including Aaiye Meherbaan.
The film Phagun (1958) was panned by critics but became a huge hit thanks to the soundtrack, which has Asha singing every song, including the iconic duet Ek Pardesi Mera Dil Le Gaya.
Asha’s hit qawwali inspired songs in Barsaat Ki Raat (1960) showed another dimension of her immense talent.
She skillfully delivered songs for the classic film Chaudhvin Ka Chand (1960) after established singer Geeta Dutt backed out.
Asha dominated the soundtrack of all-time classic Sahib Bibi Aur Ghulam (1962).
Asha won the 1962 Maharashtra government best singer award for the Marathi film, Manini.
She helped power Phir Wohi Dil Laya Hoon (1963) to big success with hit songs.
Her Kashmir Ki Kali (1964) songs became massively popular.
She dominated the soundtrack of the pathbreaking film Phool Aur Patthar (1966).
Asha won her first Filmfare best female playback award for Garibon Ki Suno from Dus Lakh (1966).
She collaborated with ace composer Madan Mohan for the iconic song Jhumka Gira Re from Mera Saaya (1966).
Asha teamed up with RD Burman (above) for smash hit Teesri Manzil (1966) soundtrack. The game-changer would become the beginning of one of Bollywood’s greatest partnerships.
Her song Yako Eno from Kannada film Yako Yeno Seraga Nillavaldu (1967) was a big hit.
Asha won her second Filmfare best female playback award for Parde Men Rahne Do from Shikar (1968).
Asha sang the hit song He Dhol Dhamakya for one of the first Gujarati colour films Liludi Dharati (1968).
The singer won her third Filmfare best female playback award for the iconic song Piya Tu Ab To Aja from Caravan (1971).
At a time when very little independent music was released away from cinema, she teamed up with composer Jaidev for a 1971 album of devotional songs and ghazals titled An Unforgettable Treat. Later when Jaidev died in 1987, she released a compilation album of lesser-known songs he had composed.
She sang a version of Zindagi Ek Safar Hai from Andaz (1971), which was the most popular song of that year on radio show Binaca Geetmala.
Asha won another Filmfare best female playback award for the iconic song Dum Maro Dum from Haré Rama Haré Krishna (1971), which was the most popular song of that year on Binaca Geetmala.
It was three Filmfare best female playback awards in a row for Asha as she won for the song Hone Lagi Hai Raat from Naina (1973).
The singer made it a fabulous four Filmfare best female playback awards in a row for the song Chain Se Ham Ko Kabhi from Pran Jaye Per Vachan Na Jaye (1974). It was her sixth trophy overall.
The acclaimed singer has seven Filmfare best female playback awards out of 18 nominations. That number would have been higher, but after receiving the award in 1979, Bhosle emulated her elder sister Lata Mangeshkar and requested that her name should not be considered for further nominations.
She was later given a special Filmfare award for Rangeela in 1996 and the Filmfare lifetime achievement award in 2001.
In 1979, Asha delivered a stunning concert (above) at the Royal Albert Hall in London, which has been made available as an LP. She would return to the iconic venue for shows in subsequent decades.
Her songs for the iconic film Umrao Jaan (1981), including Dil Cheez Kya Hai and In Aankhon Ki Masti Ke became legendary and earned her a National Award.
She teamed up with legendary singer Ghulam Ali for the iconic 1983 album Meraj E Ghazal, which was digitally re-released decades later.
The versatile singer delivered many private albums away from Bollywood long before it was popular to do so. A notable one was the pathbreaking 1987 album Dil Padosi Hai, which saw her team up with her music director husband RD Burman and ace lyricist Gulzar.
Asha discovered Adnan Sami. She first spotted the talent of the chart-topping singer, songwriter and musician when he was just 10 years old.
Adnan Sami later collaborated with Asha on his star-making album Kabhi To Nazar Milao. Talking about Bhosle, Sami said: “She is like a mother to me. As a singer I think she is one of the most phenomenal artists India has ever witnessed with the ability to make any genre her own.”
Asha won another National Award for the song Mera Kuchh Saamaan from Ijaazat(1987).
Asha’s many international collaborations include the 1991 song Bow Down Mister with Boy George.
To mark her 60th birthday, EMI India released the albums Bala Main Bairagan Hoongi(devotional songs), The Golden Collection: Memorable Ghazals (non-film ghazals), and The Golden Collection: The Ever Versatile Asha Bhosle (44 popular film songs)
The brilliance of Bhosle on the Rangeela (1994) soundtrack helped AR Rahman gain global fame. They would team up for subsequent film soundtracks like the Oscar nominated Lagaan (2001).
Asha became the first Indian singer to get a Grammy award nomination, for Legacy, a 1996 album with Ustad Ali Akbar Khan.
She released the album Rahul & I Personal Memories, which has remixes of her late husband RD Burman’s songs, including a collaboration with Apache Indian, which he described as the most precious moment of his career.
British group Cornershop released chart-topping song Brimful Of Asha in 1997. Their track dedicated to the Bollywood great was a huge worldwide success.
In 1997, she teamed up with Lesle Lewis for the hit pop album Janam Samjha Karo, which won multiple honours including an MTV award.
Asha collaborated with nineties boyband Code Red for the English language song We Can Make It.
She teamed up with legendary pop producer Biddu for the album Asha Once More, which features stunning remixes of her greatest hits.
Asha sang the important song Nee Partha Paravai for the Tamil version of the political film Hey Ram (2000). She also sang Janmon Ki Jwala in the Hindi version.
The Indian government gave her their highest cinematic honour, the Dadasaheb Phalke Award for 2000.
In 2001 Nelly Furtado’s single I’m Like a Bird included a Nellie vs. Asha Remix created by Digital Cutup Lounge.
She turned music composer with the 2002 eight-track album Aap Ki Asha.
In October 2002, she performed a charity concert in London for Help the Aged to raise funds for the elder
In 2002, the legendary singer received a BBC Lifetime Achievement Award, which was presented to her by then UK prime minister Tony Blair.
Electronic music duo 1 Giant Leap brought together REM lead singer Michael Stipe and Asha for the song The Way You Dream, which featured on a star-studded album filled with international artists.
In 2003, legendary British singer Sarah Brightmansampled her song Dil Cheez Kya Hai on her album Harem, for the song You Take My Breath Away.
In 2005 Asha released a self-titled album as a tribute to ghazal maestros Mehdi Hassan, Ghulam Ali, Farida Khanumand Jagjit Singh, which included their respective greatest hits like Aaj Jaane Ki Zid Na Karo and Chupke Chupke.
International band The Black Eyed Peas sampled her 1970s film songs Ae Naujawan Sab Kuchh Yahan and Yeh Mera Dil Pyaar Ka Diwana in their 2005 hit single Don’t Phunk with My Heart.
In 2005 American string group Kronos Quartet teamed up with Asha Bhosle to re-record songs composed by her late husband RD Burman. Their subsequent album You’ve Stole My Heart: Songs From RD Burman’s Bollywood received great global acclaim and a 2006 Grammy Award nomination in the best contemporary world music album category.
She recorded the 2006 album Asha & Friends, singing duets with celebrities including Sanjay Dutt, Urmila Matondkar and Brett Lee.
She released the album Precious Platinum to great acclaim in 2008.
Asha received a Padma Vibhushan in 2008, which is India’s second highest civilian award.
The singer was given an IIFA Lifetime Achievement Award in 2011 at a ceremony in Toronto, Canada.
Asha made her full-fledged lead acting debut in 2013 drama Mai (above), where she beautifully portrayed a mother suffering from Alzheimer’s disease, who is abandoned by her children.
The singer featured as a judge on popular musical reality TV series including Sur Kshetra, Indian Idol and Sa Re Ga Ma Pa.
In 2014, Asha honoured her late husband RD Burman’s 75th birth anniversary with the album Pancham Tumi Kothay, where she sang eight songs previously composed by him in Bengali.
She sang the song Dil Lagane Ko Dil Jab for a special International Women’s Day album in 2014.
The incredible icon topped Eastern Eye’s definitive list of the greatest Bollywood playback singers of all time in 2015 and received great media coverage. She proudly shared the achievement on social media.
In 2016, she recorded the album 82, which features six ghazal of Marathi poet Suresh Bhat, mixed with influences that include pop, reggae, blues and rock.
The legendary singer used her immense culinary skills to successfully open restaurants in Dubai and the UK. She personally trains the chefs to prepare good food. In 2021, Hollywood superstar Tom Cruise ate at the Birmingham branch of her restaurant Asha’s.
In 2017 she unveiled her wax figure at the Madame Tussauds museum in New Delhi.
In May 2020, the cool grandma launched her YouTube channel named Asha Bhosle Official. It has nearly 300,000 subscribers.
The singer launched the series Moments In Time on her YouTube channel. The short videos contain recollections from her amazing life.
During lockdown she launched the online show Asha Ki Asha, which is a talent hunt for aspiring singers, based solely on talent.
Asha received the Maharashtra Bhushan Award in 2021, which is the highest civilian award presented annually by the Government of Maharashtra state in India.
The legendary live singer has been delivering sell-out shows around the world for decades, which includes many in the UK. She has also delivered charity concerts and inspired others with her stage brilliance.
She entered the Guinness Book Of World Records for singing more than 12,000 songs, which consolidates her position as the queen of Bollywood music.
The massive number of views her songs get on video sharing sites shows the enduring appeal of the singer. On YouTube alone her songs have clocked up more than a billion views.
Asha’s biggest strength has always been her incredible versatility. This has won her many admirers and fans including late actor Shammi Kapoor, who once said: “If I did not have Mohammed Rafi to sing for me, I would have got Asha Bhosle to do the job.”
The most prolific singer of all time, Asha has sung in over 14 languages including Assamese, Hindi, Urdu, Telugu, Marathi, Bengali, Gujarati, Punjabi, Tamil, English, Russi an, Czech, Nepali, Malay, and Malayalam.
If you look at the variety, number of songs, the work she did outside Bollywood, influence and her prolific live career, then Asha is undisputedly the greatest singer India has ever produced. She continues to inspire everyone in unbelievable ways, from her music talent to her work ethnic, longevity, incredible life story and being arguably the coolest granny on the planet. We salute her.
The National Theatre’s annual Connections Festival will return this June, celebrating its 30th anniversary with a week-long programme of youth theatre performances from across the UK.
Running from 24 to 28 June, the festival will also mark the reopening of the Dorfman Theatre, which has been closed since November 2024 for government-funded refurbishment works.
Over the past three months, more than 5,000 young people from over 270 schools and youth theatre groups have performed in venues across 33 professional stages nationwide. From this wide participation, ten theatre groups have been selected to perform at the National Theatre in London.
Each group will stage one of ten newly commissioned plays, offering young performers the opportunity to explore contemporary themes including identity, climate change, and community.
The selected groups and their plays are:
Fresh Air by Vickie Donoghue – Central Foundation Boys’ School, London
Ravers by Rikki Beadle-Blair – HOME Young Company, Manchester
Mia and the Fish by Satinder Chohan – Abbey Grange Academy, Leeds
The Company of Trees by Jane Bodie – Hamilton District Youth Theatre, Lanarkshire
Their Name is Joy by May Sumbwanyambe – Nottingham Girls Academy Theatre Company
Saba’s Swim by Danusia Samal – Central Youth Theatre, Wolverhampton
Normalised by Amanda Verlaque – Brassneck Youth, Belfast
No Regrets by Gary McNair – Glasgow Acting Academy
Brain Play by Chloë Lawrence-Taylor and Paul Sirett – Chatham and Clarendon Grammar School, Ramsgate
YOU 2.0 by Alys Metcalf – Everyman Youth Theatre, Cardiff
Young participants have also been involved in backstage roles, including lighting, costume design, directing and composing, helping to realise their productions from start to finish.
Indhu Rubasingham, Director and Co-Chief Executive of the National Theatre, said: “I am really pleased to welcome ten youth groups from all corners of the UK to the NT for this landmark anniversary festival of Connections. Everyone should have the opportunity to experience the power of theatre-making.”
Since launching, the festival has engaged over 125,000 young people, with former participants including actors Keira Knightley, David Oyelowo, Rose Ayling-Ellis, and Callum Scott Howells.
Each year, ten new plays are commissioned for Connections, contributing to a growing archive of over 235 scripts written specifically for young performers.
Tickets are available for £5 per show, or £8 for two performances in one evening. All shows will feature captioning for accessibility.
Whether it is her cool songs like Checka, Piya Piya Calling and Siste Dans, cutting-edgeEP Running Deep, or acclaimed 2024 debut album Shahrazad, Delara has consistently crossed creative horizons and collaborated with global talent.
The award-winning Norwegian singer has lit up the live scene, clocked millions of streams, and connected with diverse cultures through her eclectic music. The fabulously forward-thinking talent has added to her impressive achievements with the newly released Kalash Reimagined, a bold collaboration with Indian singer Charan, Pakistani producer Talal Qureshi and Jamaican-American rapper BEAM.
Eastern Eye caught up with Delara to discuss her music, inspirations, future hopes and unique new single.
Her new track, Kalash ReimaginedInstagram/ amandadelara
What first connected you to music?
I think music was always part of my life before I even knew what it meant to me. I grew up in a household where my parents would talk about life and politics around the dinner table. That energy of emotion, reflection and curiosity somehow found its way into the songs I started writing. Music became my space for understanding myself and the world around me.
How do you reflect on your music journey so far?
I’m proud of how much I’ve dared to evolve. From the start, I didn’t take the easiest route. I sang about politics and personal struggles when people told me not to. But I’ve always trusted that staying true to myself would lead me to where I’m meant to go. That has shaped me into the artist I am today – a mix of experimentation, boldness and vulnerability.
Which of your songs is closest to your heart?
That’s a hard one, but Unbound will always be very close to me. I wrote it during a time when I was thinking a lot about the impermanence of life, and how nothing and no one lasts forever. The relationship I have with my mother, who means everything to me, inspired much of that song. Having her in the music video made it even more emotional and personal.
How much did the acclaim your debut album received mean to you?
Of course, I’m grateful for the recognition, but I try not to get too caught up in critical acclaim. What means the most to me is the feedback I get from listeners – people who send me messages or come up to me after shows saying a song helped them through something. That’s what gives me confidence and keeps me creating.
Tell us about Kalash Reimagined.
Kalash Reimagined takes the original track to new heights by merging powerful voices and sounds from different parts of the world. After working on Piya Piya with Coke Studio last year, it felt natural to expand on this fusion of cultures. The remix blends south Asian sounds, Jamaican energy and Norwegian–Iranian influences to create something bold and deeply emotional. It is a celebration of what can grow when different worlds collide.
What was it like collaborating with Charan, Talal Qureshi and BEAM?
Collaborating with Charan, Talal and BEAM was an amazing experience. Charan brought his unique perspective and fresh energy to the track. Talal’s creativity and musical vision really helped elevate the sound, while BEAM’s raw intensity added something special. It felt like a real meeting of different worlds, with voices that had something real to say. The collaboration was a true exchange of energy and ideas, and it came together beautifully.
How would you describe this track?
It’s a powerful fusion of sounds and emotions. Kalash Reimagined is bold, raw and unapologetic – yet playful and full of energy. The track exists in the spaces between cultures, not trying to represent everything but highlighting what can grow when worlds collide. It celebrates shared experiences and the beautiful complexity that emerges from blending different backgrounds.
Who are you hoping this song connects with?
I hope this track resonates with anyone who feels caught between cultures or identities. It is for those who do not fit neatly into one box. Whether you are from south Asia, the diaspora, the Caribbean or anywhere in between, I want the song to speak to those who feel empowered by blending different worlds – and who are open to the beauty that comes from that fusion.
What can we expect next from you?
There is a lot on the horizon. I’m about to announce my biggest headliner show yet, which I’m incredibly excited about. I’m also working on new music and visual projects that will push boundaries, along with more cross-cultural collaborations like Kalash Reimagined. The goal is always to connect sounds and stories in unexpected ways. I’m exploring fresh creative paths, keeping things organic and letting ideas flow freely.
Who would you love to collaborate with? There are so many, but right now I would love to work with artists who challenge genres and tell strong stories – people like Bad Bunny, Rosalía, Frank Ocean or even Raveena. Artists who are not afraid to blend cultures and sounds.
What kind of music dominates your personal playlist?
It’s a mix of many things. But with summer approaching, there is a lot of Afro, reggaeton, salsa, r’n’b and hip hop. I’ve actually created a personal playlist that I share with my listeners.
What inspires you as an artist?
Life itself – my family, friends, conversations with strangers, travelling, latenight thoughts, missing home, or wondering what home even means. I get inspired by contradictions, and those quiet moments of reflection when I’m not even trying to create.
Why do you love music?
When I’m creating music, I feel the most free. It is a space where only your mind, creativity and ideas matter – not how you look or how others see you. Music was the first place where I felt truly seen and heard. It’s a powerful force of connection, the closest thing we have to real magic – a universal language that everyone understands. In just seconds, music can make us feel a little less alone. How can you not love that?
Instagram: @amandadelara
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The book explores the power of community, teamwork, and belonging
With the release of Pia’s Pet Club: Puppy Problem on 8 May, award-winning author Serena Patel brings young readers a heartwarming new series that combines humour, friendship, and cultural representation. Known for her Anisha, Accidental Detective books, Patel spoke to us about her inspiration, the writing process, and why visibility in children's literature matters.
From PowerPoint slides to pet chaos
The origins of Pia’s Pet Club are rooted in a familiar family negotiation. Patel recalls, “My son was trying to persuade us to get a bigger pet. He made PowerPoint slides, showed us TV programmes, did all his research. Eventually we gave in—and now we have two ragdoll cats.”
That experience inspired Pia, a young girl desperate for a pet of her own. When her parents say no, Pia sets out to prove she’s responsible by helping her friend Hari train his unruly puppy, Luna. Predictably, chaos follows—and so does the idea of forming a pet club.
One of Patel’s favourite scenes to write involved a spectacularly failed attempt to train Luna. “It was really fun to write. The kids think it’ll be easy, but the dog has other ideas,” she laughs.
A heroine with heart and flaws
Pia is Patel’s latest strong-willed lead character. “She doesn’t always get it right, but she’s trying her best,” she says. “She’s flawed and real, just like any child.”
Patel, who grew up in a South Asian household, shares that she never saw herself in books as a child. “I never came across South Asian characters in funny stories. Seeing yourself in a book gives you a sense of belonging—it’s validating,” she explains. Pia’s cultural background is woven naturally into the narrative, from home-cooked meals to family dynamics and familiar words.
A visual world, brought to life
The illustrations in Pia’s Pet Club are by Emma McCann, who has worked with Patel for several years. “Emma’s brilliant. It’s like she has a camera inside my brain,” Patel says. “She adds humour and detail that isn’t even in the text. It’s a real collaboration.”
Set in the communal garden of an apartment block, the book explores the power of community, teamwork, and belonging. Patel describes it as a departure from the mystery genre that defined her previous work. “This one feels more like a warm sitcom—funny, but full of heart.”
The first book took nearly three years to develop, from idea to finished manuscript. “There were moments I doubted myself, but I wanted to make it the best it could be,” she admits.
What's next for Pia?
The series is already expanding. The second book, The Secret Kitten, is due in January 2026, and the third, Guinea Pig Showtime, will follow in July 2026. Readers can expect more mishaps and humour as Pia and her friends take on new pet-related challenges, including a pet talent show.
From page to screen?
With Anisha, Accidental Detective in development for television by BBC Studios Kids & Family—featuring Emmy-winning actress Archie Panjabi as executive producer—it’s no surprise that Patel has considered a screen future for Pia as well.
“It’s the dream,” she says. “The setting, the characters, the themes—they’d all work brilliantly on screen.”
Ahead of the launch, Patel is preparing for a number of school visits and events. “It’s a new series. You never know how it’ll be received,” she says. “But the early feedback has been great.”
For readers young and old, Pia’s Pet Club offers a story of determination, friendship, and cultural pride. “Books are powerful. They stay with us,” Patel says. “And if Pia makes just one child feel seen or brings a smile to their face, then I’ve done my job.”
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Badyal brings a wide breadth of experience across the creative industries
Saxton Bampfylde has announced the appointment of Jonathan Badyal as senior advisor to its arts, culture and creative industries practice. The firm, which has supported this sector for nearly four decades, works with some of the world’s most respected cultural organisations on senior leadership appointments.
Badyal brings a wide breadth of experience across the creative industries, including roles in both the public and private sectors. He is currently a partner at Trafalgar Strategy, a global advisory firm, where he provides strategic and communications counsel to CEOs and leading creatives. With a particular interest in India, Badyal is also working to develop the UK’s cultural ties with the country, exploring opportunities for collaboration in the arts and creative sectors.
During his career, Badyal spent eight years at Universal Music UK, most recently serving as director of communications. In this role, he managed key relationships across the creative industries and government. Prior to this, he spent five years advising the UK government’s culture and digital minister, gaining deep insight into arts and creative industries policy.
His board roles include deputy chair at the Black Country Living Museum and interim chair of the National Academy for Social Prescribing. He has previously served on the Tate Modern advisory group and was recently listed in the PRWeek UK Power Book 2025.
Saxton Bampfylde’s arts, culture and creative industries practice has partnered with a wide range of organisations across the sector, including the National Theatre, British Museum, V&A, BBC, SXSW, and the GRAMMYs. The firm has also worked with a number of prominent theatre institutions, including the Almeida Theatre, Trafalgar Entertainment, Punchdrunk, Young Vic, Sheffield Theatres, Birmingham Rep and Pitlochry Festival Theatre.
Ed Bampfylde, head of the arts, culture and creative industries practice, said: "We are thrilled to welcome Jonathan to our team. His breadth of experience across the creative industries gives him a unique perspective that will be invaluable to our clients. Jonathan's commitment to the sector, coupled with his vision and depth of understanding of the evolving creative landscape, perfectly complements our mission to identify and support transformative leaders."
Commenting on his appointment, Badyal said: "I’ve always had a real passion for putting people together, particularly when it comes to boards and CEOs looking for exceptional individuals who can bring something different to their organisations. I’m delighted to now be doing this in a formal capacity, advising the team at Saxton Bampfylde as they continue to work with some of the world’s most important organisations in sectors I care so deeply about."
BITING POINT is “a desire to find goodness in a difficult and uncertain world,” its British Indian playwright has said, adding that he hopes it will resonate with audiences in Hull and beyond.
Written by Sid Sagar, the play is a sitespecific production performed in car parks and examines how anger can turn good people ugly.
“The play is deeply rooted in examining how anger can transform ordinary people – individuals simply going about their lives, dealing with everyday stresses that audiences will relate to, whether that’s work pressure, family stress or relationships not functioning as well as desired.
“It also explores how being caught in city centre traffic and congestion in Hull can affect people’s temperament,” Sagar told Eastern Eye in an interview.
He added, “In recent years, particularly during and since the pandemic, there has been a general rise in rage among the public. This anger partly stems from the less formalised, less polite conduct we now see in mainstream politics, which trickles down to ordinary people who feel so disempowered and disenfranchised that venting – often in problematic ways – seems their only recourse to be heard.”
Directed by Paul Smith, Biting Point centres around a road accident and its knock-on effects. John (played by Marc Graham), a white British delivery driver, and Anita (Katie Singh), a British south Asian property manager, have grown up in the same city with both similar and differing experiences and frustrations of keeping pace with modern life. When they collide at a roundabout in relentless rush-hour traffic, their frustrations and anger boil over, leading them to react in ways they never thought possible.
Biting Point’s running time will be 75 minutes without an interval.
“The unique aspect of this production is that it’s touring to car parks of various shapes and sizes rather than conventional theatres. The actors will perform live, while audience members entering the car park will be given headsets through which they’ll hear poems and thoughts from local artists before the show begins. Suddenly, viewers will be thrust into the characters’ world, who sometimes communicate with each other, but more often replay memories, telling us about various interactions with important people in their lives,” said Sagar, who took four years to write the play.
“Through the headphones technology, audiences will experience numerous characters and an entire world of voices, adding to the sense of people being weighed down by information overload. This overwhelming nature of societal demands fuels the rise in rage, or at least creates a sense that people don’t quite know how to manage stress, which, if left unaddressed, can quickly develop into something more worrying.”
In his opinion, without the conventional “fourth wall” of darkened theatres, actors will directly engage with viewers, creating an immediate connection that makes the audience feel part of the storytelling process.
According to Sagar, the novel approach of performing the play in car parks emerged through collaboration with himself, the director and the production team. The play also received support from Without Walls, a UK charitable foundation that funds site-specific art projects in unexpected locations.
He said, “The car park setting aims to make theatre more inclusive and accessible, bringing stories to communities who might not typically attend traditional venues. It transforms an ordinary, functional space into something that can tell meaningful stories about the place people find themselves in.
“Upon arrival, audience members will receive headphones, a cup of tea, and a magazine featuring works by local artists. The immersive experience includes memories, sound design, and unique perspectives from the top floors of car parks, offering spectacular city views rarely appreciated.”
Though acknowledging it’s a challenge and perhaps a risk, Sagar said the most rewarding outcomes often come from embracing such challenges.
The actor-writer is from Delhi and grew up in Hertfordshire.
Asked how his Indian background influenced his writing, he said, “I was born to parents from Delhi and grew up in Nairobi, Barcelona and Moscow until I was eight, when my family moved to England in 2001. I settled in Hertfordshire, just outside London, where I spent my formative years before later relocating to north London.
“This experience of movement and feeling ‘slightly different’ heightened my selfawareness from a young age, making me more attuned to how people respond to differences. My own background fostered my interest in storytelling about ‘big themes from small places’ and examining ordinary people’s experiences.
“As with many artists from ethnic minority backgrounds in the west, my work is underpinned by a desire to understand my place in a society that presents itself as inclusive, whilst acknowledging persistent troubling views about integration and immigration.”
Biting Point was commissioned in 2023, prior to the 2024 summer riots that swept through Southport, Hull and other towns and cities across the UK.
Sagar added, “For the play, I created Anita, a character with south Asian heritage born and raised in Grimsby (northeast England), who sounds local, but looks Indian.
“The play’s 2025 performance comes less than a year after the UK riots of 2024 – events reflecting both legitimate expressions of despair and more nefarious forces, resulting in attacks on minorities. While I resist reductive classifications of ‘British Asian’ identity, I believe engaging audiences with these complex stories of belonging and community might help them leave the theatre feeling differently than when they arrived.”
The innate human tendency towards goodness and acceptance is often forgotten as we navigate adulthood, Sagar said.
“When this fundamental nature intersects with today’s globalised, increasingly unequal world, the consequences for ordinary people can be devastating. Our political systems frequently leave those without a voice feeling more disenfranchised, while those at the upper end of the scale control media and politics. This power imbalance can lead fundamentally decent people to develop resentment. When communities change and opportunities diminish, people naturally search for explanations. However, the true causes are often more complex than we wish to believe. The 2024 riots, for example, cannot be attributed solely to asylum seekers in hotels; these communities’ grievances stem from decades of governmental neglect – closed libraries, underfunded schools, and relocated hospitals. These systemic failures can transform good people’s outlook, with potentially devastating results. Ultimately, this play aims to offer communities hope that goodness remains possible, even when circumstances seem stacked against us.”
Sagar trained with the Soho Theatre Writers’ Lab, the INSPIRE scheme at Hampstead Theatre, the London Library Emerging Writers Programme, and the Channel 4 Screenwriting Course in 2023.
The writer, who also plays Mr Praed in Mrs Warren’s Profession at the Garrick Theatre, London, later this month, said his acting journey also helped him with his writing. “I think acting is always useful. It gives you insight not only into how other creatives work – what directors and writers need – but ultimately, because you’re the one who must stand up and deliver the lines, it gives you a sense of how dialogue works and what makes for good dialogue. It also helps you understand what makes for good characters.
“Actors are naturally drawn to playing complex characters. We want to play people who have a journey in a play. You don’t want to just stand there and say one line over several hours - you want to have something to hold on to. That informs the way I write. I want to create interesting people doing interesting things, even if, at first glance, they don’t come from particularly interesting places.
Sagar added, “For example, in Biting Point, you have John, who is a delivery driver - someone doing a job most people might not pay much attention to. Then there’s Anita, a property manager, which might sound dull or ordinary. But their inner worlds, the things affecting them every day, are complicated, messy, knotty, and sometimes funny too.
“So, I think my acting background - my experience on stage performing, making people laugh, moving people - means I want to give actors the opportunity to shine and tell exciting stories. My performance background informs the way I write, and vice versa. The way I write also draws me, as an actor, to work that is challenging, provocative, and says something about the world, rather than shying away from it or accepting things as they are.”
Biting Point opens in Hull next Saturday (10) and will tour north England until June 22.