‘King Troll (The Fawn)’: Beasts of myths and migration collide in a new dystopian play
Playwright Sonali Bhattacharyya weaves a tale of two sisters facing impossible choices
Safiyya Ingar and Zainab Hasan
By Sarwar AlamSep 30, 2024
ACCLAIMED playwright Sonali Bhattacharyya has been working on the story for King Troll (The Fawn), for seven years and in that time, her exploration of systemic racism has developed to include witches and mythical creatures.
“The show is really about the monster within,” Bhattacharyya told Eastern Eye.
“It’s how the broader regime and systemic racism impacts our souls as human beings, but particularly as racialised people, and how that sort of system creates a sense of competition between us – it fosters a sense of inhumanity and self-loathing. That’s why I really leaned into horror with this play,” she added.
King Troll (The Fawn) is a dark, dystopian thriller about two south Asian sisters, desperate to escape the border regime without losing their humanity.
It dwells on the full extent of migrant experiences in all its complexity – one that she said is rarely heard or understood.
Sonali Bhattacharyya
“I am really keen for this play to show that these sort of names – refugee, migrant, asylum seeker – are inventions by a racist system to divide us,” she said.
“Some people move because they want to and others, because they have to. That’s completely natural and a human response to the world – people have always moved, but these sort of labels to divide and categorise people into ‘who deserve to move and who doesn’t deserve to move’ are harmful to all of us and erode all of our humanity.”
Sisters Riya (Safiyya Ingar) and Nikita (Zainab Hasan) navigate the increasingly authoritarian island where they live in different ways. Insecure and stateless, both are desperate for somewhere to call home.
Riya, who doesn’t have a work visa like her sister, is offered the chance to create an advocate in the form of a homunculus, or fawn, and sees a chance to elevate herself above the cruelty meted out to others.
In the play, the new regulations allow someone to sponsor a person’s leave to remain, regardless of their employment status. “The story starts when new rules are introduced, and Riya’s status becomes precarious. She’s applying for leave to remain, but they extend the time period needed to demonstrate residency in the country, and the sisters just can’t find the paperwork they need, although they have been in the country the required amount of time,” said Bhattacharyya.
Nikita, meanwhile, tries to keep her saviour complex in check as she negotiates the challenges and hypocrisy of the third sector, where she supports migrant teenagers. Her deep connection with one client forces her to confront the limitations of her work.
“Suddenly, there is an hierarchy within the sisters’ dynamic. Riya is less secure than Nikita, because she hasn’t been able to find a sponsor,” said Bhattacharyya.
“It’s very loosely based on the Windrush scandal, but, obviously, these things are happening all the time with new legislation being brought in.”
Bhattacharyya rev ealed her own parents lived through the upheaval that migrating from one country to another brings. “My parents moved to the UK in the late 1960s; but, before that, my dad was a child refugee and my mum was an economic migrant as a child,” she said.
“My father’s family had to flee Burma, when the Japanese invaded in World War Two. My mother’s family left Chittagong, which was then in East Pakistan, because it became untenable for them to remain there as a family.”
“The overarching theme of the play is this very real and very understandable human desire to have some sense of home, because home means safety and that’s something that is universal.”
The continued change in immigration laws in the UK over the past few years led to the story of King Troll (The Fawn) evolving and having different incarnations.
“I realised that I couldn’t keep up with the way things were moving in this country - in terms of the border regime and immigration and legislation,” she said.
“Things were happening at such a speed and with such catastrophic impact, I actually couldn’t anticipate what was going to happen and try and reflect that in the play. That’s when I pulled back from trying to keep up with current events and leaned into the horror of the psychological impact on individuals.
Ayesha Dharker, in rehearsals
“That’s when it became a full-blown horror, and where the fawn was born. And that’s where the idea of this really being about the impact on these two sisters and their lives came about.”
Desperate to find a sponsor, Riya enlists the help of a witch called Shashi (Ayesha Dharker) who helps them creates a homunculus (The Fawn) to be her advocate.
The creature comes from the concept of 16th century alchemy and the creation of a miniature, fully formed human by inserting human sperm into a horse, cow or chicken’s womb.
“Shashi offers them the world and it’s really within those horror tropes that Riya finds herself succumbing to the temptation of a quick fix and an easy way towards security,” said Bhattacharyya.
“She slowly begins to find power through that as well, which is where the slippery slope really begins and she finds herself climbing the greasy pole at the expense of others.”
Bhattacharyya revealed the idea for the play was born out of her interest to write about the rise of the far right and how this was impacting black and brown people and also her interest in the “phenomenon of the brown Tory (Conservative)”.
“It’s the policies of black and brown politicians whose parents were migrants. It’s not simple because, of course, there’s all kinds class dimension and socio-political reasons why the likes of Priti Patels of this world have the politics that they do,” said Bhattacharyya.
“It’s very hard to avoid when you grow up as a racialised person in a racist country and you see that temptation to, instead of reaching out to one another and extending solidarity and connection and working together to try and resist this system that dehumanises us – the fawn is instead that little voice that says, ‘don’t bother – you can shove people aside and you can stab people in the back, and you can climb over people’s necks, and you can get ahead that way.
Milli Bhatia
“King Troll is about the troll that lives within all of us – whispering ‘me, not us’, and definitely, ‘me’ first. In narrative terms, it’s like true death is when the tragic character renounces their values and gives up on human connection.”
The play is Bhattacharyya and Milli Bhatia’s third collaboration as writer and director, following Chasing Hares and Liberation Squares. The duo first worked together on a Kali workshop and reading of King Troll (The Fawn) in 2021.
They both will also be working again with two of the stars of Chasing Hares in Dharker and Hasan, whilst Ingar was in Bhattacharyya’s Two Billion Beats.
“I’m really excited to be working with Milli again with an absolutely exceptional cast,” said Bhattacharyya, who hasn’t been able to attend rehearsals as she’s recovering after a fall while indoor climbing with her children.
“I am really excited about the show. Although I’ve been very sad not to be able to be in rehearsals, I have been Zoom-ing in. The way that the show is developing, I can see the entire team is having a great time working together.”
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.
For more details and booking, visit
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Gavin & Stacey takes home the comedy award
I’m a Celebrity wins in the reality competition category
Lineker takes presenter prize after BBC departure
Gary Lineker has ended Ant and Dec’s record 23-year winning streak at the National Television Awards (NTAs). The former Match of the Day presenter was voted best TV presenter by viewers at the ceremony on Wednesday.
Lineker stepped down from Match of the Day in May after 26 years, following controversy around his social media posts. Accepting the award, he thanked colleagues and said the prize showed “it is OK to use your platform to speak up on behalf of those who have no voice.” He added: “It’s not lost on me why I might have won this award.”
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The last winner before Ant and Dec’s run was Michael Barrymore in 2000.
Netflix drama Adolescence scores double win
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Backstage, Jones paid tribute to co-writer and co-star James Corden, who could not attend, and addressed reports of a new Apple TV+ project, saying nothing had yet been confirmed.
I’m a Celebrity beats The Traitors
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The Financial Times, which interviewed Arundhati at her home in Delhi, reveals: “In an episode to which the writer makes oblique reference early in the book but withholds until later — because of the pain it caused — she returned from boarding school for the holidays, aged 13, to find that Mrs Roy had had her beloved pet dog, Dido, shot and buried as ‘a kind of honour killing’ after Dido mated with an unknown street dog.”
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The mural has been covered and is being guarded by security
A new mural by street artist Banksy has appeared on the Royal Courts of Justice building in central London.
The artwork depicts a judge hitting a protester, with blood splattering their placard.
It comes days after nearly 900 arrests at a London protest against the ban on Palestine Action.
The mural has been covered and is being guarded by security; Banksy confirmed authenticity via Instagram.
Banksy’s latest work at the Royal Courts of Justice
A new mural by the elusive Bristol-based street artist Banksy has appeared on the side of the Royal Courts of Justice building in central London.
The artwork shows a judge in traditional wig and black robe striking a protester lying on the ground, with blood depicted on the protester’s placard. While the mural does not explicitly reference a specific cause or incident, its appearance comes just two days after almost 900 people were arrested during a protest in London against the ban on Palestine Action.
Security and public access
Social media images show that the mural has already been covered with large plastic sheets and two metal barriers. Security officials are guarding the site, which sits beneath a CCTV camera.
Banksy shared a photo of the artwork on Instagram, captioning it: “Royal Courts Of Justice. London.” This is consistent with the artist’s usual method of confirming authenticity.
Location and context
The mural is located on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex. Banksy’s stencilled graffiti often comments on government policy, war, and capitalism.
Previous works in London
Last summer, Banksy launched an animal-themed campaign in London featuring nine works. The series concluded with a gorilla appearing to lift a shutter at the London Zoo. Other notable pieces included piranhas on a police sentry box in the City of London and a howling wolf on a satellite dish in Peckham, which was removed less than an hour after unveiling.