'Absolute privilege': Lucca Chadwick-Patel on playing lead in 'My Beautiful Launderette'
The actor who plays Omar in the stage adaptation Hanif Kureishi's iconic 1985 film, My Beautiful Laundrette, speaks about the show currently on a UK tour
By Asjad NazirMar 02, 2024
THE 2019 stage adaptation of writer Hanif Kureishi’s iconic 1985 film, My Beautiful Laundrette, was so successful that it returned for another UK tour, beginning at Curve Theatre in Leicester, where it was originally produced.
Set against a backdrop of nationalism, racial tensions and political turmoil of the 1980s, the groundbreaking story revolves around a British Asian named Omar, who teams up with a racist gang member to transform a launderette, sparking an unlikely romance.
Lucca Chadwick-Patel plays Omar in the new production and has received justified acclaim for his performance.
Eastern Eye caught up with the British talent to discuss the show currently on a UK tour, why it’s still relevant today, acting and theatre.
How does it feel playing the lead role in such an iconic story?
It really is an absolute privilege – Hanif’s work speaks for itself. It’s such fun. His writing is honest and gives you so much scope to explore and play such unapologetically real people. The play is a vital piece and a joy to be a part of, as it speaks not only for our past, but also our current political climate.
How aware were you of the story before taking on this role?
I have to say I wasn’t aware of it at all (criminal, I know). When I had the audition, my dad told me some bits about it. Then I went back and watched the original film, which I just fell in love with. The play captures so much of that original framework and builds on it for the stage, putting the characters and story at the forefront of the action.
How would you describe your character?
I would describe Omar as driven, cunning, sensitive, playful and charming. I could go on and on. Throughout the play, he goes through a wide range of emotions and states. He’s very complex, which is so much fun to play.
What is the biggest challenge of playing this role?
I would say the biggest challenge with Omar is effectively showing his journey and growth throughout the play – he really does go on a big journey that changes his life completely. I don’t want to give too much away, so you’ll have to come and see the play if you want more spoilers!
Chadwick-Patel with Sam Mitchell in the play
What is your own favourite moment in the play?
There are many brilliant moments in the play, but my favourite bit would have to be the club scene for numerous reasons. It’s the first time Omar and Johnny both let their guard down and actually connect properly, so I love it for that.
Does the play having had a successful run previously put pressure on you?
This is a really interesting question. The previous production of the play was a beautiful framework for us to begin with, but this new version has been restaged and revised. Although we had a brilliant starting point with the film and the previous production, it feels like we’re creating a new piece at the same time and that’s really cool. So, actually no, I don’t. The past versions were all great and this version will be a new chapter in the journey of this brilliant story.
Do you feel the themes of this play are still relevant today?
This play is all the more relevant today – so many of the experiences of Omar and the other characters in the play parallel the news stories we read regularly. The themes addressed in the piece remain as vital today as they were in 1985. Personally, it resonates with my upbringing and reflects the state of our country and its politics in the current climate. I believe this play serves as a crucial tool for education and raising awareness.
Has playing this character taught you anything new?
This has been the most complex and intense role I’ve played in my career, so every day is a learning experience and I’m loving every second of it. We have an amazing room and team, so I feel comfortable to play and try new things which is important when you are trying to create good work. It’s a joy in every way!
What, according to you, makes for great theatre?
Great theatre can come in so many forms. I’m a proper theatre nerd and have been since I was a kid. I love the escapism and shared experience. I love a good musical – there’s nothing quite like a bit of acting through song. In my eyes, good theatre challenges you and offers questions and things to take away. My favourite thing is leaving the theatre and dissecting it on the journey home – that’s when I know I’ve seen something brilliant!
Chadwick-Patel with Gordon Warnecke
What inspires you as an actor?
One of my favourite things is to watch theatre and come away feeling inspired by the wonderful actors we have in our industry. But one of my main inspirations and aim is to improve Asian representation in the arts. When I was younger, there were so few people who looked like me on our stages. I feel so privileged to get to do my job and the thought that it could inspire one person along the way means the world to me.
Why should we all come and watch My Beautiful Launderette?
You should catch our version of My Beautiful Laundrette primarily for the writing, which is fantastic. The production has shaped up to be really exciting and, most important, I believe it is a vital piece of theatre, not just for then, but for today’s audiences too.
My Beautiful Laundrette will be staged at Queen’s Theatre, Hornchurch (until next Saturday, 9); Theatre Royal, Wakefield (March 11-14); The Lowry, Salford (March 19-23); Liverpool Playhouse (March 26-31); and Blackpool Grand Theatre (April 2-6). www.nationaltheatre.org.uk
THEATRE can be a space to explore views that are too ugly or complicated to express in everyday life, an Asian debut playwright has said.
Doctor-turned-writer Shaan Sahota’s play, The Estate, for the National Theatre, is a family political drama that explores relationships.
“I’m really interested in human behaviour, especially the stories people tell about themselves,” Sahota told Eastern Eye. “I’m fascinated by situations where really good people can behave quite badly. You see a lot of that in hospitals, whether it’s patients or staff – decent people just having bad days. That kind of complexity is also what draws me to writing family dramas.
“I find myself wondering: what are the limits of family? How can you behave and still be loved? What lines can you cross? Those are the kinds of questions I find myself asking.”
Directed by Daniel Raggett, the play’s cast features BAFTA-winning actor Adeel Akhtar in a lead role.
Sahota took two years to complete the play, although the original idea came to her in 2019. She said south Asian plays tended to focus on arranged marriages and racism, but rarely explore the “unaddressed issues” that exist within families.
She said, “I’m interested in whether fairness is possible in a family. If something feels deeply unfair, what do you actually do about it? There’s no court of law inside a family. Some wrongs don’t fall within the scope of legal justice. So, do you fight back? And if you do, how? What’s the right way to do it?
“Honestly, I don’t know the answer. That’s one of the reasons I wrote this play – to explore those questions. There’s also the emotional tension: we’ve all got that relative who pushes back hard against things that bother them, and they can be difficult to be around. But what if that person, the one who’s always protesting, actually has the best points? Or what if the most charming and likeable person in the family is the one holding a horrible point of view? That kind of messiness – where right and wrong don’t line up neatly with likability or love – is what really interests me.
At the centre of the story is Angad Singh (played by Akhtar), a high-achieving, public-facing figure whose carefully curated life begins to unravel. Singh is inspired by what the playwright calls “the opportunity to change a tradition – which is arguably incredibly sexist – but choosing not to.”
Adeel Akhtar in the publicity poster for The Estate
She described him as someone who sees himself as an underdog and a good man, even as he behaves increasingly badly. On combining politics and family in her debut play, Sahota said, “I chose politics as my protagonist’s profession because I wanted his bad behaviour at home to come at a cost in his public life. Politics is one of the few careers where you’re expected to have strong personal ethics, and where your personal virtue becomes part of your public image.
“I guess medicine has some of that too, but politics really felt like a space where private actions could have professional consequences. Dramatically, it also raises the stakes – it matters more if he does the right thing or not, because the fallout isn’t just personal, it’s public.
Sahota said the play’s themes – misogyny, tradition, identity – are serious; however, the tone of the play isn’t heavyhanded. “It’s quite light-hearted until suddenly it’s not. It plays with genre. It has comedic pacing and rhythm – you know, the family taking the piss out of each other – and then it shifts into something quite ugly and emotional. I’d call it a comedic tragedy,” she said.
Sahota added, “Everyone in the play thinks they are doing the right thing. That reflects how I see the world – people often have opposing views, but still think they are acting fairly and ethically. I didn’t want to write a play where I came across as the one who’s right. In fact, I wanted someone to watch it and find the characters who are most annoying like me.
“I’m more interested in how good people can disagree profoundly, and how they rationalise their behaviour.
“It’s not a neat debate. It’s about human weakness, pettiness, and how those things get wrapped in noble language.
“As for misogyny and tradition in the play – they don’t exactly collide in a neat way. I tried to give every character the best arguments they could possibly have to defend their views in the play. No one in the play sees themselves as misogynists. Even the character who might be benefiting from sexism genuinely believes he’s being fair, and he makes strong points when he’s challenged.”
The writer’s own background growing up in Southall shaped her perspective.
“I grew up in a Punjabi family in Southall, then went on to Oxford and Cambridge. Like my protagonist, I was exposed to worlds of extreme privilege and started feeling a bit embarrassed about where I came from. I even used to say I lived in Ealing, just to make it sound a bit more glamorous.”
The play was written while she pursued her career in medicine.
Sahota said, “It wasn’t a full-time job. I wrote it on weekends, in my spare time. For a long while, it was something I didn’t really share with anyone.” Eventually, it was picked up and developed by the National Theatre over two years.
Sahota said having her work staged at the National felt surreal. “It’s wild. Dream come true seems like an understatement – it feels like a fantasy. Even in my dreams, the play’s being performed in a school hall with a spotlight. I don’t think I’ve fully grasped it.”
She hoped the play’s specificity can reach beyond its south Asian setting. “These are children of 1970s immigrants. They’re not meant to represent all south Asians, or all Sikh families. This isn’t the ‘truth’ of our people. They’re just one strange family in crisis.”
She said, “I hope south Asians and children of immigrants from different backgrounds find something familiar in it. But also, I want people who thought theatre wasn’t for them to discover something in it too.”
The play offers no moral clarity or easy answers, according to Sahota.
“I hope people feel uncomfortable and don’t know what to think. That’s what life is like – it’s messy and complicated. That’s what I wanted the play to hold space for,” she concluded.
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AN ASIAN migrant who arrived in the UK without speaking a word of English has described her experience of assimilation in an award-winning documentary released last month.
Nages Amirthananthar, 83, features in Fearless, which tells the stories of six women who left their homes as young adults to build new lives in Britain.
In an interview with Eastern Eye, she said, “I still struggle to speak properly when my children or grandchildren talk fast or use difficult words. They are very smart. I understand a lot, and I can read and write, but speaking has always been hard for me. That’s why I never had much confidence. I think if there had been proper English courses when I arrived, it would have helped.”
With her husband RS Amirthananthar
Others who narrate their experiences of migration in the film are Sheila Daniel, Aileen Edwards, Maggie Kelly, Anne Gaché, Nashattar Kang; all are now aged between 80 and 92.
Their stories combine humour and inspiration as they reflect on the courage it took to abandon familiar surroundings and forge fresh beginnings in a foreign country. Amirthananthar moved to Scunthorpe in 1975.
She said, “It was difficult to express how I felt, because everything was so new. I had lived in a village in Hartland, and life in the UK was completely different – everything had changed: the lifestyle, the shopping, all of it.
An old portrait
“My husband [Dr RS Amirthananthar, a GP] came before us on a scholarship. He was very calm and supportive, always guiding me on what to do.”
Their family moved to a small village near Hull and bought their first home there. A few of her husband’s relatives lived in Warrington and Leicester.
Originally from Jaffna in Sri Lanka, Amirthananthar could not understand why some people used the racial slur “P*** “to describe her, since she was from the island nation, and not from Pakistan.
She said, “I was about 31 or 32 years old at the time. I couldn’t manage much on my own in the beginning. I had studied in school, but I didn’t speak English well. I could understand it, but speaking was difficult. My husband encouraged me to learn. I took classes at a local ladies’ school and improved.
With her family
“Our neighbour in Scunthorpe was a lovely white lady. She was very kind, always offering to help. She even helped with laundry. There weren’t any Asian women nearby to support me.”
Amirthananthar recalled how she was initially wary about moving to England due to concerns about the cold climate.
However, her husband persuaded her by arguing that their children would have a better life in the UK. The couple were married for 43 years until her husband’s death 17 years ago.
They have five children (the eldest son is 59) and nine grandchildren.
Amirthananthar said, “English people are very nice. I always liked mixing with them. When I first arrived, I used to go to coffee mornings with the neighbours – mostly English people, because there were very few Asians in the neigbhourhood. We’d take turns hosting, just chatting and spending time together.”
She revealed her cooking skills helped her to “navigate the tough times” and that many people were many fans of her dishes, and that she was encouraged to start her own restaurant.
She said, “I like doing things for others, especially cooking. That’s how I’ve made so many friends. Even now, people send me Christmas cards and photos. Many people asked me to start a restaurant. They said they’d come and help. But my husband didn’t want me to cook for others – only for the family.”
At the time there was little or no government support for migrants in Britain, but Amirthananthar said language classes or training programmes would have made a significant difference, particularly in building confidence among newcomers.
She said, “Many people today already speak the language when they arrive in the UK, which helps. Once they know the language, they can integrate and contribute to society.”
Amirthananthar described her experience of watching Fearless as “very good,” though she admitted to feeling somewhat shy during the screening.
She was particularly caught off guard when asked (in the film) if she had enjoyed herself before marriage. Her response was that she had. “Everyone laughed at that bit, and I was embarrassed,” she recalled.
The experience of seeing her story portrayed in a film came as a shock. “I never thought my story would appear in a film,” she said, adding that women of her generation are not accustomed to seeing themselves represented in this way.
Her naturally open personality meant she answered all questions honestly during filming, though she later wondered whether she had been too candid – especially regarding her admission that she was happier before marriage.
Her children, however, reassured her that honesty was the right approach.
Amirthananthar said she hoped young viewers will understand that love has always been central to her character.
“Calm down, darling. Don’t let your emotions take over,” is advice she regularly gives to her children and grandchildren.
Perhaps this helped her at times when dealing with her late husband’s occasionally short temper. “When you live with love, you must be patient,” she reflected, summarising the philosophy that has guided her life.
She added, “Do your duty properly. Don’t be afraid of anyone. Be honest and calm. Do your best and don’t ignore your responsibilities. That’s what I’ve done my whole life – and I still do.”
She emphasised the importance of selfreliance, adding: “Be honest and work hard. That’s the most important thing. You have to do your best. I don’t like when people claim benefits they don’t deserve. This is our land now – you should work for your living, not rely on others.”
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The controversy, now widely referred to as The Salt Path scandal
The Salt Path author Raynor Winn calls media claims “highly misleading”
Allegations published in The Observer raise doubts about key memoir details
PSPA charity ends relationship with Winn and her husband Moth
Winn pulls out of Saltlines tour but is still scheduled for literary events
Author rejects claims as legal advice sought
Raynor Winn, the author of the best-selling memoir The Salt Path, has strongly denied accusations that parts of her book are fabricated, describing recent media coverage as “highly misleading” and confirming that she and her husband are taking legal advice.
The controversy, now widely referred to as The Salt Path scandal, follows an Observer report that disputes aspects of the memoir’s central narrative, including the timeline and medical diagnosis that prompted the journey at the heart of the book.
Winn has previously said that the story is based on detailed notes taken during a 630-mile walk along the South West Coast Path, undertaken after the couple lost their farm and Moth, her husband, was diagnosed with the neurological condition Corticobasal Degeneration (CBD).
Memoir defended as a “true story”
In a statement to Sky News, Winn said: “The Salt Path lays bare the physical and spiritual journey Moth and I shared, an experience that transformed us completely and altered the course of our lives. This is the true story of our journey.”
She added that, due to legal advice, the couple would not be making further public comment at this time.
PSPA severs ties over unanswered questions
In response to the media coverage, the Progressive Supranuclear Palsy Association (PSPA), which supports individuals affected by CBD and similar conditions, confirmed it had “terminated” its relationship with Raynor and Moth.
In a message to its supporters, the charity said: “Many questions currently remain unanswered,” referencing the uncertainty raised by The Salt Path scandal and the need for clarity.
Tour appearances cancelled
Winn had been due to appear throughout the summer as part of Saltlines, a spoken-word and music collaboration with the Gigspanner Big Band. However, the band announced via social media that she would no longer take part in the tour.
Despite this, she remains listed for several upcoming events including literary festivals, creative writing courses, and author Q&As.
A publishing success and a film adaptation
Since its publication in 2018, The Salt Path has sold over a million copies worldwide and spent almost two years on The Sunday Times bestseller list. It is described by publisher Penguin as “an unflinchingly honest, inspiring and life-affirming true story.”
The memoir is the first in a planned series of four books centred on nature, walking, and overcoming adversity. The fourth instalment is due to be released in October 2025.
In 2023, a film adaptation starring Gillian Anderson and Jason Isaacs was shot across various UK coastal regions and released earlier this year.
Film companies respond to controversy
The producers of the film, Number 9 Films and Shadowplay Features, issued a statement distancing the production from the allegations. “The allegations made in The Observer relate to the book and are a matter for the author Raynor Winn,” they said. “We have passed any correspondence relating to the article to Raynor and her agent.”
They added that no claims had been raised at the time of optioning or during production and that standard due diligence was undertaken before adapting the memoir.
Actor Jason Isaacs, who plays Moth in the film, previously told Sky News he had spoken with the couple before filming and described them as “humble” and uninterested in seeking the spotlight. He also called the film “a true, beautiful, real-life love story” and hoped it would encourage empathy toward homeless people.
Publisher contacted for comment
Sky News has contacted Penguin, which published The Salt Path as well as two of Winn’s follow-up works, for comment regarding the allegations now being described as part of The Salt Path scandal.
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.