REVIVAL OF PROTESTS AGAINST RACISM GIVES AMRITRAJ’S FILM ADDED RELEVANCE
by AMIT ROY
THIS is a movie that can be rated “AAAA” even before it is made – a film about the black tennis legend Arthur Ashe by the Indian Hollywood icon Ashok Amritraj.
Ashe, who grew up in an America in which he found sports clubs barred to non-whites, made history as the first black tennis player who won the US Open in New York in 1968, the Australian Open in Sydney in 1970, and capped it all by winning Wimbledon in 1975 when he beat Jimmy Connors 6-1, 6-1, 5-7, 6-3 in the final. In his memoirs, Days of Grace, Ashe recalled how Connors had smacked the ball “with a force that bordered on vindictiveness”.
Amritraj is chairman and CEO of the Hyde Park Entertainment group and has produced more than a hundred films in Hollywood during the past 35 years, casting many of the biggest stars in the business. He announced the “Arthur Ashe biopic” project recently after two years doing the groundwork.
“I’ve been presented a lot of tennis movies over the years and nothing has ever struck my fancy,” he admits.
“This was one that always intrigued me. Many people have tried to do the Ashe story because it’s both inspiring and aspirational. “In this time in a divisive world, it’s very much a healing story.”
Amritraj adds, “he is somebody you compare to an Obama type of character,” referring to the former US president Barack Obama, who served two consecutive terms in the White House.
Two developments have given his film added relevance and urgency. One is the revival of the “Black Lives Matter” protests, following the death of George Floyd in US police custody. The other is the attack last week on the Arthur Ashe memorial in Richmond, Virginia, the city where he was born on July 10, 1943, and where Ashe first learned to play tennis in the public courts. “White Lives Matter” had daubed “WLM” on the structure, which was further defaced with “BLM” sprayed on top.
Social media users condemned the vandalism as “disgusting” and “disgraceful”.
Amritraj’s words are measured: “It’s a very, very emotionally charged time. Crazy, crazy time. It’s hard to blame people who are going through such a hard time, with Covid, followed by George Floyd, followed by the uncertainty of openings and closings of cities and communities.”
The film is “about his growing up and making it as a black man in a white man’s world,” Amritraj explains.
“Arthur was so much more than a great tennis player … while he did have a voice in civil rights in the US, he really found his voice [opposing] the apartheid policies of South Africa.
“In 1974, he played there. It was the first time ever that blacks and whites could sit next to each other, watching this extraordinary black man beat these white tennis players all the way to the final, where Connors beat him. It was a bit of a let-down, but then it was followed by the Wimbledon final where he beat Jimmy.”
When Ashe was a boy, “his father told him to keep his eyes down when he was playing tennis. That’s how he was raised.”
The “sensibilities” of the youth were “discovered” and nurtured by a black physician, Dr Robert Walter Johnson, the “godfather of black tennis” who set up an all expenses paid “American Tennis Association Junior Development Programme for African-American youths”.
Ashe’s victory in 1968 was poignant as it happened after the assassinations of Robert Kennedy and Martin Luther King Jr, as well as anti-Vietnam War and civil rights protests.
Ashe, who also fought for AIDs patients, is believed to have contracted HIV from a blood transfusion he received during a heart bypass surgery. He publicly announced his illness and founded the Arthur Ashe Foundation for the Defeat of AIDS and the Arthur Ashe Institute for Urban Health before his death at the age of 49 on February 6, 1993. On June 20, 1993, Ashe was posthumously awarded the Presidential Medal of Freedom by US president Bill Clinton.
It helps that Amritraj, 64, has himself played at Wimbledon, along with his elder brothers, Anand, 68, and Vijay, 66 (he starred in the 1983 Bond film, Octopussy).
“One of these iconic matches which I watched in 1975 was when he beat Connors in the finals. And I had reached the finals of the Wimbledon juniors in 1974.”
Amritraj had known Ashe and his wife Jeanne socially in the 1970s: “I played him in the mid-70s at a WCT (World Championship Tennis) event in St. Louis, Missouri. And we had a good match – and he won.”
Jeanne is to be an executive producer of the film. Also working on the biopic is Amritraj’s 26-year-old daughter, Priya, who is vice president of Hyde Park, where she oversees the dozen or so films in various stages of development.
She is also involved in Hyde Park’s Asia division, which is making Maximum City, directed by Anurag Kashyap and based on Suketu Mehta’s book, and Paradise Towers, adapted from Shweta Nanda’s novel, in partnership with Zoya Akhtar.
The screenplay for the Ashe movie is being written by the Oscar-winner Kevin Willmott, while Warner Music is a partner. Since Amritraj announced the movie, “there has been an extraordinary amount of interest from African American actors across the board, who have called in. I was extremely surprised at the wonderful response that we got from both actors and directors who said that ‘when you’re ready, we’d love to talk about it’.”
He is confident there is a sufficiently big pool of black actors right for the lead role. “Oh, yes, definitely, there’s half a dozen actors I can think of who would be amazing for the role.”
He had the idea for the movie, expected to be released by the end of next year, long before the tragedy in Minneapolis. “Oh, my goodness, for a few years now.”
There are personal reasons why Amritraj is well placed to understand what Ashe went through. “When one looks back, I was certainly in the early 1980s going into Hollywood very much as a brown man in a white man’s world. You didn’t think about racism and all that stuff. You just thought about making it. Certainly, many of the things that took place at that time could qualify as racism. Being the first at anything or being early in anything is damn tough.
“At that point, there were no Indian producers in the Academy (of Motion Picture Arts and Sciences) – there was really nobody (non-white) in Hollywood. There was obviously banging on a lot of doors for almost a decade.”
Today, Amritraj, the UN India goodwill ambassador, is passionate about pushing diversity. “I serve on various executive committees and boards these days for diversity and inclusion. I serve on the Academy of Motion Picture Arts and Sciences executive Committee for diversity and inclusion.”
He says about the Ashe film: “It’s just a terrific story of how he grew up very much a black man in what was the epitome of a white man’s sport at that time. And then there’s his influence when he went to South Africa. I think it’s just a great story.”
When Jasbinder Bilan first paused her teaching career to pursue a creative writing degree, she had no idea it would lead to a life-changing breakthrough. What began as a leap of faith became a journey filled with hope, rejection and ultimately triumph. Inspired by her beloved grandmother and her Indian roots, Bilan poured her soul into her debut manuscript Song of the Mountain. Though the publishing world was not immediately ready for her story, perseverance paid off when she won the 2016 Times Chicken House Prize, launching her celebrated writing career. Now, following the success of her Costa Award-winning Asha and the Spirit Bird, Bilan returns with a powerful new historical adventure, Naeli and the Secret Song. In this exclusive interview, she speaks about the emotional inspiration behind the book, her love for young readers and the importance of believing in your voice — no matter how long it takes to be heard.
What first connected you to writing? It was stories more than writing that were my first love. My grandmother, Majee, was the storyteller in our house and it was those bonding moments that sparked my love for creating my own stories. She told me lots of Indian folk tales at bedtime, but she also shared stories of our life in India on the farm near the foothills of the Himalaya. So, I grew up feeling connected to a place that I then filled with my imagination. As a little girl I loved drawing and writing, and always wanted to be a writer, but it took me a long time to make that dream come true.
What led you towards writing children’s books in particular? Although I did not become a published author straight away, I became an English teacher. I was surrounded by children’s literature and of course by young people, so it felt like a natural fit to want to write stories for this age group. At each stage of development there are challenges, and the wonderful thing about stories is that as an author you can really help young people navigate an increasingly complex and difficult world. In each of my stories I create empathy and show my readers how they can be a little braver in their own worlds.
Which of your books is closest to your heart? It has to be Asha and the Spirit Bird, because it is the book that made me a published author and the one inspired by my Majee, who I was very close to. It is also a celebration of my family roots.
Tell us about your new book. My latest book, Naeli and the Secret Song, is another historical adventure with a musical twist. It is set in both Hyderabad, India, and England towards the middle of the 19th century. It follows my main character Naeli as she bravely boards a ship bound for Southampton, in search of her English father. The story has many twists and turns as she explores gas-lit London, armed with her precious violin. With help from a newfound friend, Jack, she follows faint clues that take her as far as the wilds of Northumberland. It is the song her papa taught her that propels her on her quest, and the strange Uncle Daniel she needs to escape.
Naeli and the secret song
What inspired the story? As with many of my stories, the inspiration comes from a very real source. India and Britain have been connected for many hundreds of years, and these connections, as well as being economic, have also been personal. I came across a collection of letters written by a girl called Mary Wilson. She was the daughter of Sir Henry Russell, an officer in the Indian Army. Her mother was Indian. When Sir Henry moved back to England, he arranged for Mary to go too, but he hid his identity from her. Although he supported her financially, he did not want her to know he was her father. These letters show how desperate she was to know him.
What happened next? This gave me the idea for the story. I also wanted to shine a light on the love between the two nations. Hyderabad was a city full of music and literature, and culture is a great connector, so Naeli’s parents were brought together by their passion for music.
You always come up with really interesting titles. What inspired this one? I was looking for a way into this story and came up with the idea of a family mystery hidden by a secret song. There are also misunderstandings in the story, family jealousies and some dastardly goings-on.
Is there a key message you want to convey with this particular book? I wanted to show that the connections between India and Britain are long and strong. As well as the complexities of colonialism, this book explores the things that brought people together at the time. It also highlights the fact that Victorian Britain was a diverse place. I hope readers will see that period in history in a fresh light.
What, according to you, makes for a great children’s book? I would say having characters the reader can identify with and root for. It has to be a page-turner and have an adventure at its heart. I also think there should be a surprise that takes readers to a place they have not been before and makes them think.
What advice would you give parents selecting a book for their children? Try to let the child pick their own books rather than choosing for them. In this way they will develop their own tastes. Reading together is fantastic too. Parents also need to be role models – having family time when everyone reads is something to aim for.
What inspires you creatively? I get my inspiration from lots of different places. I like to have an open mind, walk in nature, visit places and let my mind wander. I find walking my dog is a great way to relax and I usually start thinking of a new story. I have so many ideas — my only problem is finding the time to write them all!
Why do you love being a writer? It was my childhood dream and I never thought someone like me could become a writer. I think of this and realise that if you want to do something, you just have to knock down the obstacles, not take no for an answer and keep going. It is my dream job and I love all the different aspects, especially meeting my readers. I have been lucky enough to have many ‘pinch me’ moments, such as being invited to Buckingham Palace and doing events for Queen Camilla.
Naeli and the Secret Song by Jasbinder Bilan (£7.99, Chicken House) is available now.
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Rachel Zegler stuns in Jamie Lloyd’s Evita as Palladium crowds grow nightly
Rachel Zegler plays Eva Perón in Jamie Lloyd’s radical Evita revival at the London Palladium.
A viral moment features Zegler singing live from the theatre’s balcony to crowds on the street.
Lloyd’s stripped-down staging amps up visuals and sound but sacrifices storytelling depth.
Talks are on for a Broadway transfer as early as 2026 with Zegler confirmed to reprise her role.
Rachel Zegler commands the London stage as Eva Perón in Jamie Lloyd’s daring reimagining of Evita, a production that trades subtlety for spectacle and could soon be heading to Broadway.
Following the success of Sunset Boulevard, Lloyd’s signature stripped-down style meets rock concert intensity in this revived version of the Andrew Lloyd Webber and Tim Rice musical. Zegler, in only her second major stage role, dazzles with commanding vocals and presence, even as critics debate the show’s dramatic clarity.
Jamie Lloyd’s Evita with Rachel Zegler set for Broadway after London triumphInstagram/officialevita
Zegler’s Evita performance leaves no doubt
From her first note, Rachel Zegler proves she’s no newcomer to the stage. Her performance, both vocally and physically, carries the entire show, even when the production leans more into visual punch than emotional depth. Zegler’s rendition of Don’t Cry for Me Argentina, performed from the Palladium’s real-life balcony to street crowds below, has already become the production’s signature moment. The scene is filmed live and broadcast inside, symbolically capturing Eva Perón’s manipulation of public adoration.
Staging pushes boundaries with video and spectacle
Jamie Lloyd’s direction strips the production down to a giant grey staircase and replaces traditional storytelling with flashing lights, camera close-ups, and muscular choreography. While critics say some scenes lose emotional resonance, especially in the second act, others land with undeniable theatrical force. Some note the live camera work, booming lighting, and thundering score often feel closer to a Beyoncé tour than traditional West End fare.
After drawing big names on opening night, from Pedro Pascal and Keanu Reeves to Elaine Paige, the show’s success has sparked conversations about a Broadway transfer. Lloyd, backed by Tim Rice and Andrew Lloyd Webber, is pushing for an early 2026 New York run. Logistics are already in motion, with plans to replicate the live balcony scene in the heart of Manhattan, pending city approval for crowd management.
Though visually electrifying, the production has drawn criticism for flattening the emotional arc of Eva Perón’s story. Supporting roles, including Diego Andres Rodriguez as Che and James Olivas as Juan Perón, offer committed performances, but critics say the narrative lacks clarity. Still, audiences have been captivated, and the show has crossed into public conversation beyond theatre circles, exactly the kind of impact Lloyd seems to be chasing.
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K Anis Ahmed’s new novel Carnivore is as imaginative as it is provocative
From the blood-soaked backstreets of Dhaka to the polished kitchens of Manhattan’s elite, K Anis Ahmed’s new novel Carnivore is as imaginative as it is provocative. A satirical thriller steeped in class tension, culinary obsession and primal survival, Carnivore follows Kash, a Bangladeshi immigrant-turned-chef who launches a high-end restaurant serving exotic meats – only to become embroiled in a sinister world of appetite and ambition.
But this is no simple tale of knives and recipes. Ahmed – a seasoned journalist, publisher, and president of PEN Bangladesh – brings a sharp eye to the grotesqueries of power and privilege. In this exclusive interview with Eastern Eye, he speaks about his passion for food, the moral murkiness of his characters, and why even the most ordinary people can spiral into extraordinary darkness.
A compelling premise, layered and unpredictable charactersAMG
What first connected you to writing?
I have been an avid reader since childhood – starting with Bengali and Russian fairy tales, before moving on to Enid Blyton and Agatha Christie. In my teens, I discovered Somerset Maugham and Graham Greene. Their travel writing sparked my imagination. The idea of being a wanderer through the world as a writer captivated me and pulled me toward writing as a vocation.
What inspired your new novel Carnivore?
I lived in New York for a time and love the city. I have always had a strong interest in food and found the idea of running a café, bar or restaurant quite enticing. Since I could not do it in real life, I created one in fiction – and let it go in some wild directions.
Tell us a little about the story.
It is about a young immigrant, Kash, who runs a wild game restaurant in downtown Manhattan. When the 2008 financial crash hits, his investors and clientele disappear. To stay afloat, he turns to hosting private dinners for the super-rich. In chasing a gig for a secretive billionaire’s dining club – while also dealing with a Russian money-lender – things soon spiral out of control.
What drew you to the culinary aspect?
It came from my passion for food and cooking. But cooking, for me, is more than just food – it is about identity, values and cultural expression.
As a writer, how do you develop the darker elements in a story like this?
It usually begins with a simple ‘what if’. I ask myself: how far could a seemingly ordinary person be pushed, given enough pressure or temptation? And who might they take down with them?
What inspired the title?
It was suggested by my brilliant agent, Charlie Campbell. The title captures not just the wild game theme, but also the broader idea of appetite – its excesses, its destructive potential.
Anyone who enjoys a gripping story with a diverse cast and unexpected twistsHarperFiction
What was the biggest challenge in writing the book?
Making the ultimate meal they plan feel believable – both to Kash and his team, and to the clients. None of these characters are inherently sociopathic. I wanted to explore the extremes that ordinary people might reach when driven by circumstance.
What is your favourite part of the book?
There is an episode where they go “hunting” for a peacock – I really enjoyed writing that. The backstory draws from my own memories of Eid-ul-Azha in Dhaka, where animal sacrifices take place in driveways and courtyards. It is surreal to see such rituals on such a scale in a modern city.
Who are you hoping the novel resonates with?
Anyone who enjoys a gripping story with a diverse cast and unexpected twists. It is for fans of crime thrillers, but also for general fiction readers who like discovering new subcultures – and morally daring propositions.
What do you enjoy reading, and do you have a favourite author?
I read a lot – both fiction and non-fiction, from science to history. The novel is my greatest love, and my favourite authors span classics and contemporaries. Some recent writers I have particularly enjoyed include Paul Beatty, Alejandro Zambra, Rachel Kushner and Ottessa Moshfegh.
What inspires you as a writer?
Intriguing ‘what if’ ideas, morally complex characters and the challenge of crafting sentences that feel exactly right.
What are you working on next?
I am working on a story where a seemingly normal person slowly descends into sociopathy. I want to explore how someone can unravel and become unrecognisable from who they once were.
What, in your view, makes a great novel?
A compelling premise, layered and unpredictable characters, and prose that is fresh and evocative – without being overwrought.
Why should readers pick up your new book?
Because it is a truly fun read – simple as that.
Carnivore by K Anis Ahmed is published by HarperFiction, £16.99.
THE theme of the Royal Academy’s Summer Exhibition 2025 is “dialogues”, prompting the question: can art help bring together the people of India and Pakistan? Or, indeed, Israel and Iran – or Israel and Palestine?
It so happens that the coordinator of this year’s Summer Exhibition is the internationally celebrated artist and Royal Academician Farshid Moussavi, who is of Iranian origin.
She said: “The Royal Academy Summer Exhibition 2025 is dedicated to art’s capacity to forge dialogues and to nurture sensitivity towards societal concerns, such as ecology, survival and living together. These dialogues can be between people of different races, genders or cultures; between humans, other species and the planet; or across disciplines – art, science, politics, for example.
” In an interview with Eastern Eye, Moussavi stressed that art exhibitions alone cannot solve political problems.
But, she added: “Art exhibitions are about developing sensibilities and giving people the opportunity to see things differently – different from how they are presented, perhaps, in the media, on social media and general media.
“That’s all we can do. There is so much more that unites us than divides us.”
Asked whether art could help temper the anti-immigrant sentiment being stirred by some politicians in the UK, she replied: “The reason why I set the theme of dialogue is to encourage and nurture compassion and understanding. Yes, there is a lot of anti-immigrant [sentiment] – and it’s not just the UK, by the way, it’s everywhere.”
“Sometimes I feel that part of the negative feeling stems from simple ignorance – from not knowing or understanding each other. When you do not understand someone, you become afraid, or you see them as a threat. The more we come together – perhaps by going to exhibitions together, sitting around the table – the more we realise we can cohabit the world while being different. But we need to respect each other.”
The Story Teller by Ley Roberts
In his remarks at the opening of the 257th Summer Exhibition, Andrew Tarsia, director of exhibitions at the RA, said: “It has been held every year without interruption since it was first inaugurated in 1769. The theme of this year’s exhibition is dialogues – a theme which Farshid and the [hanging] committee have explored through more than 1,700 works displayed in the galleries. “Something that really marks this edition is the thoughtfulness with which the theme has been explored – through specific combinations of works that have been carefully curated, selected and hung across the galleries.”
He said Moussavi had worked with other members of the hanging committee, including “Tom Emerson and Stephanie Macdonald of 6a Architects, Vanessa Jackson, Christopher Le Brun, Helen Sear, Caragh Thuring and Richard Wilson. And, of course, the committee was chaired by the president of the Royal Academy, Rebecca Salter.”
This year, there has been a particular focus on architecture.
Tarsia was followed by Moussavi, who said that being the coordinator had given her “a wonderful opportunity to test art, and I’m including architecture as part of that capacity to forge dialogue between people, ideas and things.
Summer Exhibition coordinator Farshid Moussavi, with Royal Academy director of exhibitions Andrea Tarsia in the background
“We live at a time of unprecedented polarity, whether cultural, social or political. Since the world out there is focused on those polarities, here we have the opportunity to dwell on what is common to us.”
She was trying to “find conversations between artworks or within artworks as a way to inspire us to come together and address the many problems we face, which arise from multiple spheres.
“In order to address them, we need to think across things, rather than treat them in isolation. The first such separation we have tried to address is that between architecture and art at the Summer Exhibition. You will notice there is no dedicated architecture room – instead, architecture is treated as art and displayed throughout the galleries.” She added: “Pairing art and architecture has definitely been a theme.”
An installation by Ryan Gander
She referred to the large inflatable balls designed by Ryan Gander, with questions inscribed on them such as, “How much is a lot?” and “When do you know you’re right?”
The RA said: “A playful, large-scale installation by Gander is on display in the Annenberg Courtyard. Featuring five three-metre-diameter inflatable balls inscribed with questions developed with children, the work represents the inquisitiveness of kids, who ask what grown-ups often dismiss as nonsensical or illogical.”
“Raising questions is the start of addressing our problems,” commented Moussavi. “You will notice his inflatable balls in the courtyard and one inside the gallery. They confront us with questions raised by children, but which are very difficult to answer. They make us think. They make us reflect.”
A sectional model of DY Patil University Centre of Excellence, Mumbai, by Spencer de Grey
One ball inside the building had blocked the usual route taken by visitors to the Summer Exhibition. This was deliberate, forcing them to choose between two routes instead of three.
“Some people apparently take the [exhibition] book and go through the numbers,” she quipped. “I do not do that. I go with what I feel like.”
She referred to a building in Ukraine that had been painted by Jock McFadyen: “For an architect, the elevation or façade of a building is like working on a canvas. We see these kinds of dialogues. We have also discovered other themes. The open submissions come in, and we begin to identify issues that seem to be on the minds of artists and architects. One recurring theme is reuse.
“I can point you to an area where artists are working with found materials. There is an existing building that has been transformed or repurposed for a different use, and you can see the old ceiling and the new ceiling side by side. We can take what already exists – perhaps something lifeless or no longer useful – and transform it, give it a new life.
” Committee members Tom Emerson and Stephanie Macdonald of 6a Architects “have, in response to the theme, invited architectural submissions that explore how architecture can bring society together and reconnect with nature and its entangled global past and present”.
On display is work by a number of architects, including London-based Arinjoy Sen. “His work and interests have an acute focus on contested landscapes, citizenship, migration, narrative and spatial justice,” his studio said. “Sen brings a contemporary take on narrative painting, specifically evoking traditional forms such as Mughal miniatures, Kalighat paintings and pattachitra. He revisits the idea of the ritual through and beyond its association with religion.
Rituals and Identity and Theatre of Resistance by Arinjoy Sen
“Sen uses the digital medium combined with traditional craft practices like kantha embroidery and carpet weaving.”
In addition to the large number of public submissions, Royal Academicians exhibiting work include Rana Begum, Frank Bowling, Grayson Perry, Lubaina Himid, Cornelia Parker, Veronica Ryan, Conrad Shawcross, Yinka Shonibare and Rose Wylie.
Suspended works are a recurring theme throughout the exhibition; hanging above visitors in the largest gallery is an installation of textile carcasses by Argentine American artist Tamara Kostianovsky. Other invited artists this year include Lucy and Jorge Orta, Hussein Chalayan, Anya Gallaccio and John Walker.
n The Summer Exhibition is currently open to the public at the Royal Academy of Arts and will run until August 17, 2025
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This summer, Niall Moorjani returns to the Edinburgh Festival Fringe with 'Kanpur: 1857'
This summer, Niall Moorjani returns to the Edinburgh Festival Fringe with Kanpur: 1857, an explosive new play that fuses biting satire, history and heartfelt storytelling. Written, co-directed and performed by Moorjani, alongside fellow actor and collaborator Jonathan Oldfield, the show dives into the bloody uprising against British colonial rule in 1857 India, focusing on the brutal events in Kanpur.
At its centre is an Indian rebel, played by Moorjani, strapped to a cannon and forced to recount a version of events under the watchful eye of a British officer.
Known for work that intertwines mythology, identity and activism, Moorjani is a neurodiverse, Scottish-Indian theatre-maker based in Edinburgh and founder of Suitcase Storytelling Company. Together with Oldfield, they present a unique show with live music that carries emotional weight and contemporary relevance.
Eastern Eye caught up with Moorjani to talk about the power of theatre, creativity, history and their compelling new production, Kanpur: 1857.
What first connected you to creativity?
I have always just loved stories. It was a classic case of wanting to be a writer when I was small. My mum is a really creative human and wrote (though sadly never published) a fantasy book when I was a teenager, which I thought was the coolest thing. Then I discovered I loved acting and became obsessed with stand-up DVDs by Eddie Izzard and Dylan Moran. Those things inspired me so much. But at its core, I think it is a combination of a love for stories and my mum being so supportive and nurturing.
What inspired your play Kanpur: 1857?
The events of the play were the main inspiration. In 1857, hundreds of thousands of Indians in the north rose up to overthrow the British. Hindus and Muslims were united in the cause. Ultimately, they failed, and the British response was incredibly severe. It is a period of history I have always found fascinating, especially the way the British were horrified to receive the kind of violence they had been inflicting for decades. The play was also inspired by events in Gaza.
Tell us about that.
I found the parallels impossible to ignore – a violent (and morally complex) act of resistance against colonialism being met with vast collective punishment. The play is about 1857, but I am highly aware people will think of Gaza while watching it, and I want that.
Tell us about the play.
It is an explosive, satirical take on the Indian uprising of 1857, focusing specifically on the events in Kanpur. I play an Indian rebel who is strapped to a cannon and forced to tell their version of events by a British officer, played by Jonathan Oldfield. There is a trans love story, romance, jokes, drama, betrayal and devastating storytelling. All of this is set to live music by tabla master Sodhi. We have been super lucky to win the Charlie Hartill (global majority) award with Pleasance and cannot wait for people to see it.
Is there a key message you want to convey with the show?
That what the British did in India is still happening around the world today. Colonialism and colonial oppression did not end in 1857, nor in 1947 with Indian independence. These histories speak directly to our present, and we must learn from them.
Did you learn anything new while putting this play together?
Just how complex and messy the events at Kanpur were. And while I was not shocked, it is always fascinating to see how our sources from that time mostly come from the British – in this case, the victor masquerading as the victim. I could speak all day about it, so you will have to come and see the play.
An explosive new play that fuses biting satire, history and heartfelt storytellingPleasance
What was the biggest challenge of writing, co-directing and acting in this play?
Trying to hold the historical detail in my head, while also making sure the piece worked as theatre, was really tough. Fortunately, Jonathan Oldfield was amazing at helping us check in constantly on clarity without compromising on historical rigour. I expected the creative process to be harder, but it was surprisingly organic. Strangely, we often got stuck on small details – like how period-accurate the British officer’s coat should be, or what the opening projector slides should say. Naturally, self-directing is difficult, but co-directing with Jonathan really helped. As did the whole team.
What is your own favourite moment in the play? I love the big laughs. It is a tough subject, but I am really pleased with how much comedy there is. Those moments bring levity, nuance and hopefully help the heavier parts land more powerfully.
How do you feel being part of this year’s Edinburgh Fringe?
Great. I feel so lucky that we won the Charlie Hartill award. I have done the Fringe so many times on a shoestring, and this has really been a game changer. I feel privileged. The Fringe has its problems, but I absolutely love it, and in real terms, I owe my creative career to it. I love that I have been going for so long. I have a little community I only see during the festival – it is a privilege to be part of that, alongside so many amazing artists.
Why do you love theatre as a medium?
It can and should be anything. It invites us to sit down for a few hours, and then rewards us with something that can be genuinely life-changing. I especially love Fringe theatre – bonkers ideas pulled off in just an hour on tiny budgets by small, immensely talented teams. That is inspiring and exciting.
Why should we all come and watch your play at the Edinburgh Fringe?
Rebellion, cannons, trans love stories and genuinely great satire of the British empire – why should you not?
Kanpur: 1857 is running throughout the Edinburgh Fringe at 15:40, July 30 to August 24, 2025, at Pleasance Courtyard (Beneath). Tickets: www.pleasance.co.uk