Tate Liverpool will reopen in 2027 with the first major retrospective of artist Chila Kumari Singh Burman, one of the UK’s most prominent and influential contemporary artists. The announcement was made by Secretary of State for Culture Lisa Nandy during a reception held in Delhi on 3 May 2025.
Burman, a British-Indian artist renowned for her bold, vibrant, and politically engaged work, will be the focus of a landmark exhibition marking the gallery’s relaunch following a major transformation. The retrospective will span five decades of Burman's career and celebrate her unique artistic language, which fuses traditional and popular Indian culture, British heritage, and a personal exploration of identity.
The exhibition is being positioned as a significant cultural event, highlighting the diversity and creativity of artists from the North of England. Born in Bootle, Liverpool, to Punjabi parents, Burman describes herself as a “Punjabi Scouser” and has developed a distinctive visual style rooted in her working-class upbringing and dual heritage. Her work covers a wide range of media, including drawing, painting, printmaking, collage, photography, video, and neon installations.
Helen Legg, Director of Tate Liverpool, said: “Chila Kumari Singh Burman was always the artist we wanted to show on reopening, as part of a celebration of the rich culture of the North. She is renowned for creating irreverent pop and punk-inspired works in kaleidoscopic colour, infused with glitter and neon, that draw on aspects of Indian and British cultural heritage. Her works are just as striking for their subversive treatment of gender, class and identity.”
Culture Secretary Lisa Nandy described Burman’s work as a celebration of British diversity, saying: “The exhibition will honour one of Britain’s most innovative artists and marks an exciting new chapter for Tate Liverpool as it transforms into a modern day museum at the heart of the city.”
“Chila’s vibrant work celebrates the rich diversity of British identity. Her powerful artistic vision, spanning five decades and bringing together influences from her working-class Liverpool roots and Punjabi heritage, has already brightened our cities and lifted spirits during difficult times,” she added.
The upcoming retrospective will be curated by Leanne Green, Head of Exhibitions and Displays at Tate Liverpool, and Curator Tamar Hemmes. It is supported by the Bagri Foundation, which promotes artistic and educational projects relating to Asian cultures.
In response to the announcement, Burman said: “I’m made up to be coming back home to Liverpool with an exhibition that spans my whole career, from the River Mersey to the Land of the Five Rivers in Punjab. It is a real honour to be reopening the gallery and I hope the exhibition inspires a whole new generation of visitors.”
Burman’s work often explores themes of identity, feminism, and cultural heritage, weaving together personal history, social commentary, and artistic experimentation. Her visual language is known for its use of colour, text, and symbolism, often drawing on punk, reggae, Bollywood, and Bhangra influences.
One of her most acclaimed pieces, Remembering a Brave New World, was installed at Tate Britain in 2020. The neon and technicolour installation brought a message of hope and resilience during the height of the Covid-19 pandemic and became widely celebrated for its powerful visual impact.
Her other recent exhibitions include Chila Welcomes You (IWM North, 2025), Spectacular Diversions (Compton Verney, 2024), Illuminating India (Science Museum, 2017), and Beyond Pop (Wolverhampton Art Gallery, 2017). She has also completed several major public commissions, such as Liverpool Love of My Life, which adorned Liverpool Town Hall; Blackpool Light of My Life at the Grundy Art Gallery; and Do You See Words in Rainbows? in Covent Garden, all in 2021.
A neon tiger sculpture, a signature element in Burman’s work, will soon be on display at India House in London at the invitation of Indian High Commissioner to the UK, His Excellency Vikram Doraiswami.
Tate Liverpool’s transformation aims to deliver a 21st-century museum experience. The refurbished space will feature a new ground-floor art hall, expanded public areas for play, relaxation and learning, and panoramic views across the River Mersey. The reopening in 2027 is expected to reaffirm Tate Liverpool’s place as a cultural hub in the North and showcase the breadth and diversity of the Tate collection alongside world-class exhibitions.
Further details on additional exhibitions and programming for Tate Liverpool’s reopening will be announced in the coming months.
A NEW dance-theatre production explores how women enforce patriarchal rules upon their daughters and the consequent impact on family and societal structures, its artistic director said.
Choreographer Amina Khayyam uses Kathak, the classical Indian dance in her new production – Bibi Rukiya’s Reckless Daughter – to raise awareness about gender prejudice in ethnic communities.
In an interview with Eastern Eye, Khayyam also stressed the importance of mutual support among women during challenging situations.
Loosely based on Federico García Lorca’s The House of Bernarda Alba, the 70-minute show is set in modern, inner-city migrant communities.
The story centres on widow Bibi Rukiya, who restricts her three daughters’ freedom to maintain family honour and secure marriages. One daughter challenges her mother’s authority and questions her role as a woman.
Khayyam said, “I have a fondness for Lorca and the subjects he covers, particularly because they still resonate in our communities and culture. I work with women’s groups across the UK, particularly those who have difficult backgrounds like domestic violence or mental health issues, and I find those stories from Lorca really resonate with these communities,”
Bibi Rukiya was created over 18 months through workshops with women’s community groups across Britain. Participants collaborated with professional artists from the Amina Khayyam Dance Company to explore mother-daughter relationships.
Khayyam said these shaped the content and ensured the production reflects genuine experiences.
“I take the subject to them and then explore it through movement and storytelling, hearing their perspectives. When these women come back to see the performance, they see themselves and can relate to the stories,” the artist said.
Workshops were conducted in London, Luton and Birmingham for the production and more than 250 women took part.
Khayyam said, “Our show examines how women impose patriarchal rules on their daughters and the consequences thereof. We investigate why women perpetuate these structures and whom they serve by doing so, facilitating self-discovery, rather than providing answers.
“Centuries of conditioning have established clear, hierarchical gender roles in our society. Women who’ve experienced lifelong suffering often expect their daughters and daughters-in-law to endure similar hardships, following the principle, ‘I suffered, so you suffer now’, rather than breaking this cycle.
“We express these revelations through dance, movement and storytelling, bringing professional dancers and female musicians to the stage. Participants are encouraged to articulate their experiences in their native languages – Punjabi, Gujarati, Bengali, Hindi and English – which we then develop into poetry or narrative.”
She added, “We teach Kathak basics and mudras, providing theatrical elements that combine movement and text. While some participants initially resist dancing due to cultural taboos, most ultimately embrace it upon discovering its emotional benefits. We maintain women-only environments to ensure participants feel safe to express themselves freely.”
Khayyam, who is British Bangladeshi, began her Kathak dance training with Alpana Sengupta and progressed to professional level with Sushmita Ghosh at The Bhavan in London.
She then made her professional debut at the Southbank Centre.
Describing the use of Kathak to express complex emotions in the show, she said, “Kathak comes from katha, which means storyteller. We explore many different emotions within our form, and as we are storytellers, it lends itself to tell those stories. “In Kathak, we have many different tools – like spins with rhythmic footwork – as well as storytelling mudras, head gestures; all of this can come into play when we’re creating stories.”
Khayyam said the show uses music, movement and footwork to depict complex themes.
“In one scene there’s a conflict between the mother and the three daughters. We’re adapting it to three daughters as opposed to the five daughters originally in the book. There’s something called sawal jawab – question and answer.
“Through the footwork, the daughters are having a huge head-to-head with each other, and one of the best ways to bring that positively and impactfully is through sawal jawab – asking questions and giving answers – only through footwork.”
Set up in 2013 and based in Slough, the Amina Khayyam Dance Company has 15 pieces of work to its credit, with 160 shows in 40 venues in the UK and abroad.
Khayyam said her hope was for audiences to “go away and think about what they just saw”.
She added, “Sometimes we’re quite blinkered; we just carry on with life without questioning things, and I would like people to be able to question.
“Second, I’d like those south Asian women, both those we’ve worked with and those we haven’t, to be able to stop and think, ‘This is something we have in our community. How do we deal with this? How do we change it? How do we evolve this situation and empower these women who are trapped in it?’ With every show we’ve done in the past, we like to leave a question with the audience.
“It’s also about awareness. Sometimes we walk down the street and there’s a huge tree, but we never notice it – we take it for granted. Then suddenly we look up and think, “Wow, this tree is amazing.” We want to bring this kind of awareness into their lives, to recognise what’s happening and how we can help each other.
“In the workshops with women, I stressed that they need to support each other, because often that support isn’t there. We’re judging a lot, gossiping, and we need to support each other when we see difficult situations. That’s what I would like the show to bring about.”
Bibi Rukiya’sReckless Daughter will have its premiere at the Birmingham Hippodrome next Thursday (22) and Friday (23), followed by a national tour starting in autumn 2025
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.
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Crossed creative horizons and collaborated with global talent
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?
GRAMMY-nominated musician Anoushka Shankar has spoken of being inspired by the theme of a ‘New Dawn’ for the Brighton Festival, which was inaugurated last Saturday (3).
The event is the largest annual curated multi-arts event in England, and Shankar is its guest director this year.
“In a world fraught with division, this festival exists as a beacon of unity. These gatherings ultimately uplift us all, creating pockets of harmony in our increasingly fractured world,” Shankar told Eastern Eye. “The theme – New Dawn – is deeply embedded throughout the festival.
Nadine Shah
“The phrase was the name of one of the songs on my three-album cycle I’ve been releasing right now, so it’s very much part of the themes I’ve been working on. It’s about what kind of new beginning we need for the world – what we need to let go of, and what we need to bring more of in.”
In addition to local talent, artists from India, the US, Australia, Peru and Italy will perform in some 120 events across music, theatre, dance, visual arts, film and literature, among others.
Shankar invited creatives including Arooj Aftab and Nadine Shah to take part in the festival. Other participants include Rebecca Solnit, Martin Parr, Max Cooper and Hofesh Shechter.
Arooj Aftab
She added, “When they asked me to curate, I felt it was a really timely and natural theme for a festival, because all the other artists can respond to that in their own ways.
“It’s about trying to create a festival of hope, new ideas and positivity as much as possible.
“For years now there have been many reasons to worry, to lose hope. But we have the power within us to create an alternate future.
“That’s what the Brighton Festival is about – let’s come together to reflect, lift each other up and act. This is a festival for everyone to participate in, to connect with, to feel part of. I can’t wait.”
She said, “There’s truly an incredible array of art forms. For anyone attending, there’s going to be something they love, or something they don’t know about yet that they will love. There’s enough to explore and be adventurous with, and enough that you know you’ll love.
“But also, I think the Brighton Festival has really done an amazing job of working with me on that theme, and it seems to have meaning. A lot of the work is about hope or new ideas or positivity and change. I think there’s a lot there for us.”
Shankar, 43 and a mother of two, was born in London and spent her childhood in the city as well as in New Delhi, India. She is the daughter of the late Indian sitar maestro, Pandit Ravi Shankar, and Sukanya Rajan. Norah Jones, the American singer-songwriter, is her half-sister.
She will perform her album Chapter III: We Return to Light and co-host Brown Girl In The Ring with founder Sweety Kapoor. It showcases female talent with participants including Mona Arshi, Nikita Gill, Asha Puthli, Meera Syal and Indira Varma.
Shankar said, “The curator of Brown Girl in the Ring is a dear friend of mine, and I’ve been to most of their events. They usually centre around one brown female artist and their current work, and then use that to pick a theme and have lots of other artists come together. It’s always in a boxing ring and has a particular atmosphere that’s really fun and intimate.
“I wanted to see what would happen if we took that and elevated it into the stage space. She went into a much higher scale for this, and the line-up for this one evening is staggering.
“To have so many other artists taking part in one evening – I think it’s going to be really fun.”
Talking about community participation, Shankar said, “We have events for children and others where people can participate. There are some exhibitions where people can only see [the displays] if they are riding on the top deck of a bus, for example, as they are painted along the tops of surfaces.
“There’s a meditation walk early in the morning – where people literally go at dawn to be reflective.
“And of course, the How Dark It Is Before Dawn exhibition, which is going to have thousands of drawings by the public put together into one giant exhibition.
“All of that makes people feel a different sense of ownership of the art that they are watching or taking in. It makes it less removed and more about everybody.”
She added, “We’re doing community parties and some late-night dance events where people can really come together and dance and hang out. There are lots of outdoor events where people can be together. I think all of this creates a sense of community and togetherness in a way that’s really important.”
The Indian musician said more must be done to improve black and minority representation in the arts sector.
She said, “I think anything that’s done for black and minority ethnic representation is important. But, we’re a few years into these discussions, and we can see that in some places, institutions and situations, it feels a bit more like a box-tick, or it’s a little bit surface-level or tokenistic. And then there are some who are going deeper, who are really choosing to create truly inclusive spaces, or really open people’s eyes and minds to different perspectives and worlds, and that is exciting. When it’s the latter, it’s really exciting. I think there could be more.”
Shankar said she will perform all three of her albums during the festival. “Chapter one was about an initial difficulty, or a moment of pain, and how to be within that. Chapter two went a bit deeper into how you heal from that and how you move through that. That’s actually called How Dark It Is Before Dawn. Finally, chapter three is about returning to the light, like you’ve been through that night of difficulty and healing, and now you’re in a place of strength, power and joy. It’s about coming through that cycle. Whether that’s a personal thing or a global situation, it’s about coming into that space.”
With 30 years of performances and 11 Grammy nominations, Shankar has had a long and illustrious career. So how does she see the future of her music journey?
She said, “The music I make doesn’t really qualify within one genre. It’s hard to talk about it in terms of genre, because it’s so many things. But I can’t speak to the future. I think we have a very strong present. There are a lot of incredible artists making incredible work, whether it’s in preserving and bringing forward our traditions or in innovating and pushing further with the traditions. I think we’re in a good place, and I can’t wait to see what happens.”
She started curating events in 2021 with a festival in Hamburg, Germany, and now wants to take up more such roles, including in India.
“I think curation is almost like an extension of what I do in my own work – thinking of things that work well together, thinking of contrasts, trying new things.
“But it’s bigger than me – it goes beyond me into showcasing and platforming other artists. I really have enjoyed it, so my team knew I wanted to do more of it. And this is obviously on a whole different scale, as it’s a three-and-a-half week festival,” Shankar said.
The Brighton Festival, which opened on May 3, runs until May 26
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.