AWARD-WINNING writer Lolita Chakrabarti has revealed the benefits of working with her real-life partner on her latest play, which is due to stream live from a London theatre this week.
Hymn follows the lives of two men, Gil and Benny, who meet at a funeral for the first time. They discover they have more in common than they ever imagine and a relationship develops. Playing the role of Gil is actor and Chakrabarti’s husband, Adrian Lester. The couple have been together for more than three decades after meeting at the Royal Academy of Dramatic Art (RADA).
It is not the first time the pair has worked together – Lester also played the lead in Red Velvet, Chakrabarti’s 2012 critically acclaimed play exploring the life of 19th century actor Ira Aldridge. Chakrabarti revealed there are “many more pros than cons” of working so closely with a spouse.
“If I’ve written something and it’s not quite hitting what it should, (Adrian) knows what I’m trying to say and then he can help me to try and say it better,” she told Eastern Eye last week. “He is so talented and I mean, of course, I’d say that, but he’s just so able and a great collaborator.”
Lolita Chakrabarti's real-life partner Adrian Lester (right) stars in Hymn
Hymn’s plot was inspired by the male presence in Chakrabarti’s life, including members of her family, extended family members and friends. She realised she had not witnessed a staging of a relationship between men, “a love which was neither physical nor romantic”.
“Looking at the people around me, I found there was a delicacy and intimacy, a joy and affection in male relationships that I don’t feel like I’ve seen (on stage),” the playwright explained. “And so because of that, I wanted to write Hymn.”
Organising a theatre show throughout the on-going coronavirus pandemic has thrown up some difficulties. Many London theatres reopened when restrictions were eased last year – but have since closed their doors once again, following the third lockdown announced by the UK government earlier this year. Hymn was initially due to play to socially distanced audiences in January – but the lockdown meant plans had to be altered. Now, the play will be streamed live from London’s Almeida Theatre from Wednesday (17) until Saturday (20).
The actors will be performing in real time, meaning audience members will not be able to pause the performance. “You can’t go for a break to make a cup of tea,” Chakrabarti joked. “It’s the equivalent of being in the theatre at home and you’ll be watching with thousands of other people around the world.”
Danny Sapani and Adrian Lester (right) play two men who meet at a funeral for the first time in Hymn
As well as her screenwriting career, Chakrabarti is also an actress. The Hull-born star is starring in the upcoming BBC thriller Vigil – which was filmed during the pandemic, after Covid-19 protocols were put in place – and has completed some voiceover work. “(Voiceover work) has weirdly gone from very professional studios in the centre of London to recording in the dining room,” she laughed.
During the pandemic, the mother-of-two has been trying to keep busy. She has spent time working out, after realising she was “baking too much and eating too many cakes”. Her husband helped to set up an exercise task for Chakrabarti and her youngest daughter, encouraging them to take up running. “Don’t be too impressed. It was only 3k every other day,” she joked.
On the creative side, the writer admitted focus has been difficult. “I’m a very deadline lead person,” she explained. “But suddenly, the dates were gone and no one knew what was happening. It became easier to just watch TV and have a cup of tea instead.”
Chakrabarti expressed worry for the impact the pandemic has had on the theatre industry, although she believes it will “bounce back”. The pandemic has shown theatre is essential for entertainment, she explained. It is an activity which can bring people together and provide an experience allowing people to travel without leaving the country, she said. However, she added: “But I think there will be some really awful casualties (within the industry), which is terrible.”
Some of Chakrabarti’s own work has been affected by the pandemic – her theatre adaptation of Life of Pi, scheduled to transfer to London’s west end from Sheffield last year, has been postponed due to the crisis.
However, in the wider scheme of things, Chakrabarti understands theatre closures are necessary. “You do hope that things will open up (…) but then you have to put it against the context of what’s going on – the impact on people’s health and people losing their loved ones,” she said. “Against that context... you just have to be patient.”
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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