Bally Gill: ‘Theatre offers better roles for south Asians’
Gill says he is glad to be back on stage with The Harmony Test, which starts at Hampstead Theatre on Friday (17).
By Sarwar AlamMay 18, 2024
BALLY GILL has spent the last few years starring in the critically acclaimed shows Sherwood and Slow Horses, as well as the hit movie, Allelujah.
Having made his name playing Romeo in The Royal Shakespeare Company’s (RSC) production of Romeoand Juliet in 2018, Gill told Eastern Eye he is glad to be back on stage with The Harmony Test, which starts at Hampstead Theatre on Friday (17).
Gill admitted there was a “massive gap” where he didn’t work and was left feeling like the theatre industry “didn’t really know what to do with me” despite winning the Ian Charleson award for best actor for his performance as Romeo.
“I go through phases where I get frustrated when it ain’t happening or you’re going in for things and they say they want diversity, but they don’t really want diversity,” said Gill.
“They say it’s open casting, but then they’ll go for someone that has a name (well-known). Sometimes the shows aren’t really catered for you to be in them and that’s a constant battle around politics, around what things are being produced on what things aren’t being produced”.
The 31-year-old played Oberon/Theseus in the RSC’s production of AMidsummer Night’s Dream at the Royal Shakespeare Theatre, Stratford-upon-Avon, in January.
In The Harmony Test, he plays one of the lead roles alongside Pearl Chanda (The House of Bernarda Alba, National Theatre; Sea Creatures, Hampstead Theatre); Jemima Rooper (One Man, Two Guvnors, National Theatre; Little Shop of Horrors, Regent’s Park Open Air Theatre); Milo Twomey (Winter Solstice, Orange Tree Theatre) and Sandro Rosta who is making his professional debut.
Gill believes actors of south Asian heritage are actually more likely to get major roles in theatre, than in TV or film.
“The roles in theatre are so much better for me than the roles in TV and film,” he said.
With Pearl Chanda in The Harmony Test
“I get to do these parts that allow me to spread my wings in terms of the challenges of good roles; TV and film feel like they’re still a little bit far behind.
“Don’t get me wrong, you get a project here and there, and I know I’ve got it so much better than my peers that are older than me who, when they were coming up, had to take stereotypical roles or there weren’t any roles for them.”
Gill plays Kash in The Harmony Test, a newlywed who wants to start a family with his partner Zoe.
Zoe’s preference is to opt for fertility plans, vitamin supplements and a strict diet, while Kash seems intent on following the advice of someone he met in Holland and Barrett.
Their family planning is further complicated when they meet older couple and empty-nesters, Naomi and Charlie, who have been married for two decades. Naomi, frustrated and lonely, heads to the gym in search of a new lease of life. There she encounters Rocco – a younger personal trainer willing to take a “hands-on approach to the job”.
The play’s title comes from the harmony test, a non-invasive prenatal screening that checks for conditions such Down Syndrome. It also alludes to the struggles of the two couples to keep harmony in their relationships.
“This a young couple are trying to conceive, and we explore the complications of what starting a new family can ensue. And that is then juxtaposed with another couple who have been married 20 plus years; they have a daughter who’s gone to university and the demise of that relationship.
“There is a real juxtaposition of a relationship that starts with wanting to have a child and then one that’s had the child and fallen out of love with each other and everything that goes with the breakup of a connection and relationship.
“It’s all done in a very comedic, but also heartwarming and touching way of telling the story about these people in London.”
Gill revealed that he could relate to what his character Kash is going through as he is in a similar position in his own life.
“When I read it, it was so recognisable. The character Kash is an actor, so he’s going through the same sort of thing I am going through as a young actor, the same age, same part of my life where my partner and I in real life have had those conversations about kids, how can I do that being in this industry? What does that look like? The pressures that are put upon us – it really struck a chord with me.
“It changes your life (having a child). You’re not looking after yourself anymore or your partner, it’s actually another being and you have to give away a part of yourself, your ego and whatever you have for this other being who is now your responsibility pretty much until you die.
“I am always constantly asking people in this industry about having children, because we go away to do film and TV projects, it’s never really in the same spot. That’s something that’s interesting to me, as in, how do we balance that.”
Gill’s roles have enabled him to share scenes with some of the finest talents in the industry such as Oscar winner Dame Judie Dench in Allelujah.
“That was my first ever film, which was quite overwhelming. You get the call sheet and it says you got a two hander (scene between two actors) and it’s you and Judy, for instance, and then it’s you and Derek Jacobi and then Jennifer Saunders, and then Russell Tovey and then David Bradley – all these legends of British acting,” he said.
Gill revealed his theatre experience came in handy dealing with the pressures of Allelujah, his first film, especially as it is based on the Alan Bennet’s play of the same name.
“It felt very much like a theatre production. There was a lot of theatre people on the film,” he said.
“Richard Eyre, the director, very much thought about process and rehearsal. I was in conversation with him for months about character. It was really nice to feel like the first film I did was actually very theatre led.”
An actor he’s eager to share screen space with is his Slow Horses co-star, Gary Oldman.
“Gary Oldman, I’ve done four seasons of the show and I’ve not met him yet, which is sad. We went to the same drama school, obviously different times, but he’s a Rose Bruford College boy as well.
“I’ve been trying to get close, sometimes when we’re on set and you can kind of go between the trailers and I am like, ‘is Gary here? Is he around?”.
Gill has done projects in the UK as well as the US. He will next be seen the mini-series Under the Bridge starring academy award nominee Lily Gladstone (Killers of the Flower Moon). Following that will be the TV series adaptation of the 1994 Tom Cruise, Brad Pitt film Interview with the Vampire.
Casting for these shows are often done virtually, meaning Gill travels to the US or Canada, where Under the Bridge was located, for filming.
“Self-taping in zoom is really what happens now. It’s very rare, but sometimes they do fly you out, but I’ve never needed to – which is good – otherwise, you make that trip all the way to LA and you don’t get the part,” he laughed.
“I’m fortunate to have British experiences – theatre, TV and film, and then, obviously, American stuff as well that shoots in Europe and all over the world.”
The Harmony Test runs at the Hampstead Theatre from Friday (17) to June 22.
Spain leads a growing boycott movement, with Ireland, the Netherlands and Slovenia also refusing to participate if Israel competes.
The European Broadcasting Union (EBU) is in crisis talks, extending its decision deadline to December 2025.
The situation draws direct comparisons to Russia’s exclusion in 2022, creating a precedent the EBU must now navigate.
The core dilemma pits Eurovision’s non-political ideals against the stark reality of a humanitarian crisis.
The Eurovision Song Contest, that glitter-drenched annual spectacle of pop and unity, is staring into the abyss. The escalating call for a Eurovision boycott over Israel's participation, against the backdrop of the ongoing Gaza conflict, has put the organisers into their most severe political crisis yet. This isn't just about another song entry but a fundamental clash between the contest's cherished apolitical fantasy and the inescapable geopolitics of the real world, threatening to tear the competition apart from within.
Spain announces withdrawal from Eurovision over Israel participation amid growing boycott movement Instagram/eurovision
What is causing the Eurovision 2025–2026 crisis?
The main trigger is Israel’s ongoing military campaign in Gaza. Casualty figures reported by the Hamas-run Gaza Health Ministry exceed 64,000 Palestinians by September 2025, drawing international scrutiny. Several European countries argue that Israel’s presence in a major cultural event like Eurovision would appear to normalise the humanitarian crisis. On the other hand, Israel insists participation is purely cultural and unrelated to politics.
What countries are boycotting Eurovision over Israel?
So, which nations are taking this stance? The movement gained its most significant momentum with Spain's announcement. Its public broadcaster, RTVE, issued a decisive statement, confirming an overwhelming vote to withdraw. The organisation cited Israel's military actions in Gaza and stated it could not, in good conscience, "look the other way." This move is particularly consequential as Spain is one of the "Big Five" major financial contributors to the contest.
They were swiftly followed by Ireland’s RTÉ, which deemed participation "unconscionable" given the situation in Gaza. Public broadcasters in the Netherlands and Slovenia subsequently aligned with similar positions. Iceland's broadcaster has also indicated it is considering its position, formally "reserving the right" to withdraw. This is not a peripheral protest but a movement emerging from within the contest's core European membership, raising questions about which other countries may follow.
How is the EBU handling the Eurovision boycott calls?
The European Broadcasting Union faces an immense challenge. Its standard operating procedure of promoting unity through music appears insufficient for this geopolitical dilemma. The gravity of the situation can be seen in its unprecedented decision to delay the standard deadline for participation confirmations to mid-December 2025. This extension is dedicated to extensive consultation with all member unions in an effort to find a viable resolution that preserves the contest's integrity.
Concurrently, the EBU has been forced to publicly deny reports from Israeli media outlets suggesting it had advised Israel to withdraw voluntarily to avoid a "humiliating elimination," calling these claims false.
Is this Eurovision situation similar to Russia's exclusion?
This comparison forms the crux of the debate for many. The 2022 exclusion of Russia following its invasion of Ukraine established a clear precedent; the EBU justified its decision by stating Russia's participation would "bring the competition into disrepute."
Boycott advocates now argue that the same standard must be applied consistently, questioning why Israel's actions in Gaza do not merit an identical response. The EBU will likely attempt to differentiate the cases based on nuanced legalities of membership and the operational independence of the respective national broadcasters. However, in the court of public and political opinion, the perception of a double standard is a significant threat to the EBU's credibility.
What are the arguments for and against the boycott?
Proponents of the boycott base their position on principles of human rights and conscience. They stress the extensive civilian casualty figures reported by authorities in Gaza, alongside assessments from UN agencies, to argue that Israel’s inclusion on a cultural platform constitutes a form of normalisation of the ongoing conflict.
Conversely, opponents of a boycott contend that cultural events must remain separate from political disputes. They caution that excluding a nation’s artists could veer into prejudice and stress that the Israeli broadcaster, Kan, operates with editorial independence, unlike the state-controlled media of Russia. There is no clear, unambiguous resolution that will satisfy all parties.
What happens if Israel is allowed to compete in Eurovision 2026?
Should the EBU permit Israel's participation, an immediate and consequential withdrawal of several key members is all but certain. The loss of Spain, a major funder, would represent a serious financial and credibility blow. The subsequent absence of Ireland, the Netherlands, Slovenia, and potentially others would noticeably diminish the contest's scale and diversity.
Furthermore, the event itself would likely become a focal point for large-scale protests, potentially disrupting the broadcast and overshadowing the musical competition, further alienating segments of its global audience.
What happens if Israel is excluded from Eurovision?
An exclusion would trigger a different but equally severe crisis for the EBU. It would face vehement accusations of hypocrisy and double standards, particularly from Israel and its allies. The move could prompt legal challenges and potentially lead to Israel's permanent withdrawal from the union.
It would also establish a new and far-reaching precedent for excluding countries involved in international conflicts, fundamentally transforming Eurovision from an inclusive cultural space into an institution that makes overt political judgements.
The future is decidedly uncertain. The EBU is confronted with a dilemma where any decision carries significant negative consequences. The upcoming General Assembly in December is going to be a tense and potentially historic meeting. While some have speculated about a compromise, such as Israel participating under a neutral banner, the EBU has denied pursuing this option.
The underlying truth is that Eurovision has always been intertwined with politics, from historical participation under authoritarian regimes to contemporary voting blocs. The current crisis has simply stripped away the glittering façade, forcing a direct confrontation with this reality. The contest's future will depend on navigating a path that may not exist, balancing its ideals against an increasingly polarised world.
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The discovery coincides with Bradford’s City of Culture celebrations
Research for the World Curry Festival uncovered evidence of a curry house in Bradford in 1942.
Cafe Nasim, later called The Bengal Restaurant, is thought to be the city’s first.
The discovery coincides with Bradford’s City of Culture celebrations.
Festival events will include theatre, lectures, and a street food market.
Historic discovery in Bradford’s food heritage
Bradford’s claim as the curry capital of Britain has gained new historical depth. Organisers of the World Curry Festival have uncovered evidence that the city’s first curry house opened in 1942.
Documents revealed that Cafe Nasim, later renamed The Bengal Restaurant, once stood on the site of the current Kashmir Restaurant on Morley Street. Researcher David Pendleton identified an advert for the cafe in the Yorkshire Observer dated December 1942, describing it as “Bradford’s First Indian Restaurant”.
Festival organisers confirm findings
Festival founder Zulfi Karim said the discovery ended long-standing debate over which was Bradford’s first curry house. For years, different establishments had laid claim to the title, including restaurants from the 1950s and the Sweet Centre in 1964.
“This was during the Second World War, so it’s hard to imagine what ingredients they had access to with rationing,” Mr Karim said. “Even the current owner of Kashmir Restaurant thought it only went back to the 1950s.”
Bangladeshi roots of curry in Britain
Mr Karim highlighted the role of Bangladeshi immigrants in establishing Britain’s curry houses, noting that many early arrivals to the UK were former Navy workers. “That’s 80 years plus now since we’ve had a curry house in Bradford and that’s a huge story,” he added.
World Curry Festival 2025
The festival, first launched in Leeds in 2008, is being held in Bradford this year as part of the City of Culture 2025 celebrations. Running from 15–29 September, it will feature a mix of food, culture and performance.
Highlights include:
Theatre of Curry: A staged reading of Balti Kings (1999) by Sudha Bhuchar and Shaheen Khan, with curry served during the interval.
Supper club experiences.
Talks by Dr Amir Khan on nutrition and preserving authentic recipes.
Preserving the future of curry
Mr Karim stressed the importance of supporting the industry, which faces challenges due to a shortage of new talent.
“We need to keep it local, keep it authentic, and encourage people to enjoy it but also learn to cook at home,” he said.
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Princess Karam of Kapurthala, photographed by Cecil Beaton in 1935
A FAMOUS photograph taken by Cecil Beaton of an Indian princess features in an exhibition of his work, Fashionable World, at the National Portrait Gallery.
Beaten made his name by taking pictures of the English upper classes and also Hollywood stars, but some of his most striking – and evocative – images are of Indian royalty.
One taken in 1935 was of Sita Devi, Princess Karmajit of Kapurthala, who was also known as Princess Karam and eulogised as “the Pearl of India”.
She was the muse of several photographers, including Beaton, and considered “one of the most beautiful women in the world”. Born into the Hindu Rajput royal family of Kashipur in 1915, she embarked on a remarkable journey at the age of 13 when she married Prince Karamjit Singh, the younger son of Maharajah Jagatjit Singh I of Kapurthala in Punjab. She died in 2002.
According to one report, “her frequent visits to Paris saw her rubbing shoulders with the crème de la crème of European society, enchanting the Parisian elite with her exquisite blend of traditional Indian elegance and European haute couture. Her sartorial choices were a seamless fusion of her royal Indian heritage and the avant-garde fashion of Paris, making her a muse for esteemed designers like Mainbocher and Madame Grès. She effortlessly carried saris with the same grace as she did the luxurious gowns and fur coats designed by these fashion legends, often accessorised with jewels from Cartier and Boucheron.
“At the age of 19, Vogue hailed her as a ‘secular goddess’, a title that reflected her transcendent appeal and impeccable fashion sense. Her influence extended beyond borders, captivating the imagination of the Italian designer Elsa Schiaparelli, who was so inspired by the princess’s saris that she dedicated her 1935 collection to them. This collection was a homage to the traditional Indian garment, reimagined through the lens of European haute couture. Schiaparelli’s designs captured the fluidity and grace of the sari, while infusing it with the avantgarde spirit of the time, thus bridging two distinct cultural aesthetics. The princess’s impact on the fashion world was profound, as she brought the elegance of Indian attire to the forefront of the Parisian fashion scene, influencing styles and trends across continents.”
Gayatri Devi, Maharani of Jaipur at Rambagh Palace
Fashionable World will be the first exhibition to exclusively explore Beaton’s pioneering contributions to fashion photography. “From Hollywood stars and titans of art, to high society and royalty, the exhibition will feature portraits of some of the twentieth century’s most iconic figures, including Marilyn Monroe, Audrey Hepburn, Elizabeth Taylor and Marlon Brando; Queen Elizabeth II and Princess Margaret; as well as Lucian Freud, Francis Bacon and Salvador Dalí,” the NPG has announced.
The exhibition is curated by photographic historian and contributing editor to Vogue, Robin Muir.
In 2020, he curated another Beaton exhibition, Bright Young Things, at the NPG but this had to be closed because of the pandemic. That, too, had a photograph of Princess Karamjit.
The caption to her photograph then read: “A fixture on the social scene in the pre-war years, the Princess was in demand, frequently for jewellery stories, not least because her husband commissioned extravagant pieces from Cartier and Van Cleef and Arpels. Cecil photographed her in diamond bracelet by Cartier, emblazoned with an emerald, which he recalled, was ‘the size of a small fruit’. The princess’s credentials as a style leader were cemented when (Italian fashion designer) Elsa Schiaparelli based a collection on her colourful saris.”
She also merited a whole page in the 2020 catalogue which explained: “Beaton had been transfixed by one Indian in particular, the beautiful Sita Devi, Princess Karam of Kapurthala.
“Her mondaine chic inspired Ira Gershwin’s lyrics to Maharanee(A Night at the Races in Paris), a number from the Broadway revue, The Ziegfield Follies of 1936.”
The lyrics went: Even if you were just half as sweet, /It would still be like heaven to meet/Such a gay Maharanee/Paris is at your feet!
Fashionable World, which will open next month, will display around 250 items, including photographs, letters, sketches and costumes.
Muir commented: “Cecil Beaton needs little introduction as a photographer, fashion illustrator, triple Oscar-winning costume designer, social caricaturist, elegant writer of essays and occasionally waspish diaries, stylist, decorator, dandy and party goer. Beaton’s impact spans the worlds of fashion, photography and design. Unquestionably one of the leading visionary forces of the British twentieth century, he also made a lasting contribution to the artistic lives of New York, Paris and Hollywood.”
Victoria Siddall, director of the NPG, pointed out: “The National Portrait Gallery has a long and distinguished history with Cecil Beaton. His work was the subject of the NPG’s first dedicated photography exhibition in 1968, made in collaboration with Beaton himself, as well as being the first solo survey accorded any living photographer in any national museum in Britain. We are honoured to be working with Vogue’s Robin Muir, whose exhaustive research, vision and flair will guide us through Beaton’s innovative and storied influences on the fashion world.”
Actress Elizabeth Taylor, 1955
The exhibition catalogue will explain why “Cecil Beaton (1904–1980) was an extraordinary force in the 20th century British and American creative scenes. Renowned as a fashion illustrator, Oscarwinning costume designer, social caricaturist, essayist, and decorated writer, Beaton’s impact spans the worlds of fashion, photography, and design.”
The NPG added, “Known as ‘The King of Vogue’, he elevated fashion and portrait photography into an art form. His eradefining photographs captured beauty, glamour, and star power in the interwar and early post-war eras.
“Through several interwoven themes, the world of Cecil Beaton will be examined in detail. The exhibition will follow Beaton’s career from its inception, as a child of the Edwardian era experimenting with his first camera on his earliest subjects, his two sisters and mother (c. 1910), his years of invention and creativity as a student at Cambridge University, to his first images of the high society patrons who put him on the map. Including Stephen Tennant and the Sitwell siblings.
“The exhibition will journey through the London of the 1920s and 1930s, the era of the Bright Young Things and Beaton’s first commissions for his greatest patron, Vogue, to his travels to New York and Paris in the Jazz Age. Drawn to its glamour and star wattage, Beaton photographed the legends of Hollywood in its Golden Age. Cecil Beaton’s first royal photographs appeared in the late 1930s. As the Second World War loomed, he defined the notion of the monarchy for a modern age. Appointed an official war photographer by the Ministry of Information, his wartime service took him around the globe.
Beaton at the opening of his painting exhibition in London, 1966
“The war’s end ushered in a new era of elegance and Beaton captured the high fashion brilliance of the 1950s in vivid, glorious colour. The exhibition will end with what many consider his greatest triumph and by which he is likely best known: the costumes and sets for the musical My Fair Lady, on stage and later on screen.
“Almost entirely self-taught, Beaton established a singular photographic style; a marriage of Edwardian stage portraiture, emerging European surrealism and the modernist approach of the great American photographers of the era, all filtered through a determinedly English sensibility.”
In India he also photographed Gayatri Devi, the Maharani of Jaipur; the Maharani of Pratapgarh, Chimnabai II; and Maharani Kusum Kunwarba of Chhota Udepur in Gujarat.
Photographing Indian royals helped Beaton obscure his own middle-class origins, which greatly embarrassed the photographer. In 1923, he admitted: “I don’t want people to know me as I really am, but as I am trying and pretending to be.”
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Through abstract forms, bold colour, and layered compositions
Fragments of Belonging is Nitin Ganatra’s first solo exhibition
Opens Saturday, September 27, at London Art Exchange in Soho Square
Show explores themes of memory, displacement, identity, and reinvention
Runs from 3:30 PM to 9:00 PM, doors open at 3:15 PM
From screen to canvas
Actor Nitin Ganatra, known for his roles in EastEnders, Bride & Prejudice, and Charlie and the Chocolate Factory, is embarking on a new artistic chapter with his debut solo exhibition.
Titled Fragments of Belonging, the show marks his transition from performance to painting, presenting a deeply personal series of works at the London Art Exchange in Soho Square on September 27.
Exploring memory and identity
Through abstract forms, bold colour, and layered compositions, Ganatra’s paintings reflect themes of memory, displacement, and cultural inheritance. The exhibition has been described as a “visual diary,” with each piece representing fragments of lived experience shaped by migration and reinvention.
What visitors can expect
The exhibition will showcase original paintings alongside Ganatra’s personal reflections on identity and belonging. The London Art Exchange promises an intimate setting in the heart of Soho, where visitors can engage with the artist’s work and connect with fellow creatives, collectors, and fans.
The event runs from 3:30 PM to 9:00 PM on September 27, and is open to all ages.
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£1 tickets available for families receiving Universal Credit
The Peter Rabbit™ Adventure runs at Hampton Court Palace from 25 July to 7 September 2025
Trail includes interactive games, riddles and character encounters across the gardens
Children can meet a larger-than-life Peter Rabbit in the Kitchen Garden
Special themed menu items available at the Tiltyard Café
£1 tickets available for families receiving Universal Credit and other benefits
Peter Rabbit comes to life at Hampton Court
This summer, families visiting Hampton Court Palace can step into the world of Beatrix Potter as The Peter Rabbit™ Adventure takes over the palace gardens from 25 July to 7 September 2025.
Explore the Kitchen Garden, Tiltyard and WildernessHRP
The family trail, officially licensed by Penguin Ventures on behalf of Frederick Warne & Co., combines the palace’s historic gardens with the much-loved tales of Beatrix Potter. Visitors will encounter interactive activities, puzzles and games while exploring the Kitchen Garden, Tiltyard and Wilderness.
Interactive activities and wildlife learning
Along the trail, children can try Mrs Tiggy-winkle’s washing equipment to make music, search for Peter Rabbit under wheelbarrows, or test their hopping skills alongside Beatrix Potter’s characters.
The experience also highlights Potter’s role as a committed environmentalist. Young visitors are encouraged to look for real wildlife such as hedgehogs, squirrels and toads while learning about habitats and conservation in the palace grounds.
Children can meet a larger-than-life Peter Rabbit HRP
Meet Peter Rabbit and enjoy themed treats
Peter Rabbit himself will make appearances in the Kitchen Garden at set times each day, where families can take photos among the seasonal produce. Fresh fruit and vegetables grown in the gardens will feature in special Peter Rabbit™ menu items at the Tiltyard Café.
After completing the trail, children can also explore the Magic Garden playground or visit Henry VIII’s Kitchens inside the palace, where live cookery demonstrations take place each weekend.
Tickets and access
The Peter Rabbit™ Adventure is included in general admission:
Off-peak (weekdays and bank holidays): Adults £27.20, Children (5–15) £13.60, Concessions £21.80
Peak (weekends and events): Adults £30.00, Children £15.00, Concessions £24.00
HRP Members go free
Families in receipt of Universal Credit and other means-tested benefits can access £1 tickets throughout the summer (advance booking required).
Membership offers unlimited visits to Hampton Court Palace and other Historic Royal Palaces sites, including seasonal events such as the Hampton Court Palace Food Festival and Henry VIII’s Joust.