How Manoj Kerai made Mrs Kapoor a firm family favourite
The actor brilliantly plays the title role of an overbearing Gujarati mother in the laughter-filled show Mrs Kapoor's Daughter's Wedding 2: Mauritius.
By Asjad NazirMay 04, 2024
HIT theatre comedy Mrs Kapoor’s Daughter’s Wedding 2: Mauritius recently returned for another successful UK tour.
The story of a dysfunctional family planning a destination wedding has been delighting audiences nationwide and gearing up for a history-making performance in London’s West End at the Adelphi Theatre on July 16.
Manoj Kerai brilliantly plays the title role of an overbearing Gujarati mother in the laughter-filled show and discussed it with Eastern Eye, along with the nuances of acting.
What has the experience of playing the title role in Mrs Kapoor been like?
To play a much older Indian woman was a challenge to start with. But it’s now so much fun. Exhausting, but fun.
What has been your most memorable moment from playing this character?
There was one time where I was performing in front of an audience of 1,800. The show started and I had forgotten my mic. In the end someone rushed my mic to me and without untangling my bright red headphones stuck to the mic, put it on me and pushed me onto stage.
Luckily, the bright red headphones somehow looked like a hair ribbon. It wasn’t funny at the time, but really hilarious now.
What do you most love about the character?
I love how Mrs Kapoor is larger than life. She is definitely a few sandwiches short of a picnic, but it’s fun playing someone with no social filter.
Why do you think the show is so loved by audiences?
The show is so relatable. It’s funny and the humour is really witty. The talented actors, singers, dhol players and dancers all bring different elements, which cater to everyone who loves the arts and theatre productions.
There are also many unique moments in this show, that you don’t see anywhere else. Where else would you get to join a postshow wedding reception or vidaai (Indian wedding ritual) ceremony with the characters?
What is your own favourite moment in the show?
There are so many because Mrs Kapoor has outstanding one-liners throughout the show. However, I am in awe of the final wedding scene. There is no dialogue as Shahid Abbas Khan sings a beautiful song over the wedding. Before being involved in this show, I would never have thought a scene with no words would be hilarious, but the entire cast comes together to make the audience laugh out loud so many times, without using any words.
Mrs Kapoor in the play
How much are you looking forward to Mrs Kapoor being performed in London’s West End?
I don’t think it’s truly hit me yet that we’re about to become the first Gujarati production to hit London’s West End. If I think too much about what a game changer this is for us as a community, I’ll get severe anxiety. So, I’m currently just thinking about how to refine my skill, to bring my A game.
What is the secret of creating great comedy on stage?
I think it’s clever humour the audience doesn’t see coming and lived experiences. I created my version of Mrs Kapoor using people I actually know and make me laugh.
It’s important that you yourself believe the humour and comedy, because if you don’t find it funny, you’ll struggle to convince others it’s funny.
Do you ever get nervous before going on stage?
Yes. I get severe anxiety. It manifests from me needing a few comfort items before the show to calm down. I’m lucky that so many people behind the scenes are there to help overcome the nerves. One thing that really helps is chanting the Hare Krishna MahaMantra before each show.
What inspires you as an actor?
I am driven by purpose and want my work to improve the lives of others – whether it’s being involved in issue based dramas or brightening someone’s day by making them laugh. I’d love Mrs Kapoor to educate people on important issues through humour.
Why should we all watch the show?
It will honestly brighten your day and have you leave on a high. Mrs Kapoor will be making history on July 16. Come and witness for yourself why this show is the first one of its kind.
Mrs Kapoor’s Daughter’s Wedding 2: Mauritius is being staged at De Montfort Hall, Leicester (next Saturday and Sunday, 11-12), RNCM Theatre, Manchester (June 2), New Theatre, Cardiff (June 15), The Alexandra, Birmingham (June 23) and Adelphi Theatre, London (July 16). www.mkdw.co.uk .
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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