Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
A NEW play explores anger through the lens of being both south Asian and British, its Asian director has said.
Speed, directed by Milli Bhatia opened at Bush Theatre last Friday (4). It is written by Mohamed Zain Dada (Zain), and the cast includes Nikesh Patel, Arian Nik, Shazia Nicholls and Sabrina Sandhu.
Set in a Birmingham hotel basement, it tells the story of a nurse, a delivery driver and an entrepreneur who attend a speed awareness course.
In an interview with Eastern Eye, Bhatia said, “The play follows three participants and a facilitator.
“It is a new scheme being trialled by the Driver and Vehicle Licensing Agency (DVLA), combining different methods to rehabilitate individuals who drive at excessive speeds or have been involved in road altercations. The programme is specifically tailored as a speed awareness course for aggressive drivers.
“The play raises intriguing questions about British stoicism, particularly the idea of keeping calm and carrying on, and what that means for second- and third-generation British south Asians today, especially in the wake of race riots.”
She added, “It explores the themes of racing culture, car culture, and our community’s relationship with cars.
“During our research, we have been looking at Zimmers of Southall, a photography book by Hark Karan, which celebrates our community and its deep connection with cars in this country. We also drew inspiration from [Turner Prize winner] Jasleen Kaur’s recent exhibition at Tate, which includes an installation of a car with a giant doily on it. I interpreted it as a beautiful symbol of first-generation migrants acquiring their own cars and the care they place in them.
“Through this process, we have deeply examined car culture and how it specifically relates to our community — this is very much reflected in the play.”
Bhatia said Speed poses important questions about how we are permitted to express anger, and the extent to which we suppress it to avoid being misinterpreted or judged. She added, “Zain, the writer, was inspired by his own experience of attending a speed awareness course. He was fascinated by the dramatic potential of strangers coming together in a room, wanting to present themselves in a certain way while also being exposed to situations that make them feel vulnerable.
Milli Bhatia
“The play isn’t directly about this, but many of us have been reflecting on how much permission we feel to express ourselves, particularly after last summer’s race riots [after the Southport killings]. There was horrific footage of south Asian men simply walking down the street and being attacked for being there. That was terrifying for us.
“We are all very aware of what previous generations of Indians in this country endured. We’ve spoken to our parents and grandparents about the National Front, the Southall riots, and the incredible resistance movements they were part of – things that aren’t widely celebrated or discussed. That’s why Defiance, the Channel 4 series, felt like such an important moment in acknowledging our history of protest.
“After the race riots, we gained a new perspective on what our parents and grandparents had told us. We experienced real fear, which made us question anger – where it goes, how much of it we’re allowed to express. That context made the play feel dramatically compelling.”
Bhatia said she hoped south Asians who come to watch that play will experience that same sense of recognition as Speed poses “meaningful questions for them”.
“At its core, however, Speed focuses on speeding and aggressive driving. Applying this issue to the south Asian community, and particularly to our generation, is fascinating. We are often referred to as the angry generation, and the facilitator in the play frequently references academic discussions on anger.
“[Roman philosopher] Seneca, for instance, viewed anger as a useless emotion. However, I was recently listening to Gabor Maté, Canadian physician and author, who argues that anger is essential for survival. This theme feels particularly poignant now, considering that only last summer, south Asians were attacked simply for their visibility. Looking at how earlier generations navigated these issues has been as crucial as examining what it means for us today.”
Bhatia has been nominated twice for the Olivier Awards for Seven Methods of Killing Kylie Jenner and Blue Mist.
A former associate director at the Royal Court Theatre, she has worked with leading theatres across the UK and internationally, with productions staged in the West End, New York, and Sweden.
Describing her journey in the arts, she said, “I always knew I wanted to be a storyteller, and I was lucky to grow up in a home where my parents [actress Meera Syal and her former husband, the journalist Shekhar Bhatia] and grandparents actively encouraged that.
“I started directing at university when I was 18, though it wasn’t something I initially planned to do. I was studying drama and English, and I knew I wanted to work in the arts, but I wasn’t sure in what capacity.”
“At one point, I thought I might become an actor, but I was also volunteering at a women’s refuge at the time. I had done so in London, and when I moved to Norwich for university, I continued volunteering. They asked me to organise a fundraiser, and I agreed. Since I was in the drama department and had access to brilliant actors and resources, I decided to put on a play. That was the first play I ever directed, at 18.
“Six years later, I was directing at the Royal Court. It was quite a rapid trajectory. I quickly realised how much I loved collaboration in theatre. Directing allowed me to focus on two things I really cared about: political themes (since the play supported the refuge) and working with an all-female cast for that project.”
Bhatia said she was moved by a play by South African playwright Yael Farber called Nirbhaya, which was based on the Delhi gang rape incident. Even now, years later, I think about that play. It opened my eyes to what theatre could be and who it could be about. It profoundly moved me, she said.
She said she feels creatively fulfilled by making work that explores big questions about south Asians, their place in the world, and the challenges they face.
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.
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Scottish-Pakistani theatre-maker Lubna Kerr returns to the Edinburgh Fringe with 'Lunchbox'
Acclaimed Scottish-Pakistani theatre-maker Lubna Kerr returns to the Edinburgh Fringe with Lunchbox – the final instalment of her deeply personal and widely praised ‘BOX’ trilogy, following Tickbox and Chatterbox.
Inspired by her own upbringing as a Pakistani immigrant girl in Glasgow, Lunchbox is a powerful one-woman show that tackles themes of identity, race, bullying and belonging through the eyes of two teenagers growing up on the same street but living vastly different lives. With humour, honesty and heart, Kerr brings multiple characters to life, including her younger self and a troubled classmate, as she explores whether we are shaped by our environment or capable of breaking the cycle.
Ahead of the show’s run at this year’s Edinburgh Fringe, she speaks to Eastern Eye about her creative journey, the inspiration behind the trilogy and why she believes now is the time to share these stories.
Lunchbox is a powerful one-woman show that tackles themes of identity, race, bullying and belongingInstagram/ lubnakerr
How do you reflect on your creative journey?
When I started writing my first play Tickbox, I doubted myself – would anyone come to see it? But it has since been staged all over the UK and is still touring. I have come so far in my creative journey and love being able to find new stories to tell the world.
How much are you looking forward to returning to the Edinburgh Fringe? I love the Fringe. It is my favourite part of the year.
Tell us about your new show. Lunchbox is a one-woman show and is the final part of the ‘BOX’ trilogy of my life as a Pakistani immigrant girl growing up in Glasgow. There are eight characters – some familiar and some new.
How does this compare to your other shows Tickbox and Chatterbox?
It is similar but different. It explores the next stage of my school life, but this time through the eyes of the bully, Steven.
How have you felt going on a journey with this unique trilogy?
It was never meant to be a trilogy when I first started writing, but as the stories came out, I realised I had so much to share that I could not do it all in one play.
What is the biggest challenge of doing a solo show?
Keeping well and pacing your energy. There is no understudy, so I need to make sure I get enough rest and can be fresh for my shows every day.
She says, ''do not assume you know what is going on in people’s lives behind closed doors''Instagram/ lubnakerr
Who are you hoping to reach with this show?
Those who were bullied, those who stood by and did nothing, and those who were the bullies.
Is there a key message you want to convey with this show?
Do not assume you know what is going on in people’s lives behind closed doors. I want audiences to think about who they wrote off in life. Who could they have given a hand to? Whose life did they assume was a waste? Who will they be clapping for? Have they forgiven their bully?
What do you most love about live theatre?
I love performing and sharing unheard or untold stories about the diaspora. We have such a rich culture and heritage, and we need our voices to be heard. Theatre is the vehicle to do this.
How do you feel when you are on stage?
I love being on stage, whether performing a play or doing comedy. I love feeling connected to the audience – having them hold onto my every word and fall into a trance with my characters, helping them forget their worries for an hour.
Why should we all come and watch your new show Lunchbox?
Lunchbox has a universal theme of bullying and discrimination, but it is told by an older south Asian woman. How many of us are out there doing this? I want to inspire anyone of any age to come and share their stories on stage, and let the world know that we are more than just curries and cricket (though I do love both).
A NEW play looks at the cultural divisions in society, especially in the West, and shows how people can still come together and build a community even if they don’t always agree, its playwright has said.
The Ministry of Lesbian Affairs, by Iman Qureshi, follows a group of women, mostly lesbians, who come together to sing in a choir, while sharing their lives, making new friendships, experiencing love, and finding humour during their time spent together. Themes of identity, politics and personal struggles are explored in the story.
“I hope everyone comes to watch it,” Qureshi, 38, told Eastern Eye.
“When I wrote this, I wanted to show how a minority community, like a group of lesbians, can represent a universal story that anyone can connect with. So, I hope the play reaches a broad audience. Of course, I’d love all the lesbians to come and see it, but I believe it has a much wider appeal. “
The play touches on issues that affect many people, especially women, today.”
First performed at Soho Theatre three years ago to a packed audience, the play has now been reworked for the Kiln Theatre by Qureshi and director Hannah Hauer-King.
The writer said, “It’s quite rare for a play to transfer, especially three years after its original run. We’ve worked hard to update it, so it feels fresh and relevant to 2025. During the initial performance, the audience laughed a lot, which actually surprised me. “
I kept telling the marketing team it was a drama, but they insisted it was a comedy. I didn’t realise it was that funny. During the performances, the actors had to pause because people were laughing so much. The response was very warm and joyful.”
Describing the changes for the Kiln production, Qureshi added, “The ending has changed a lot. We rewrote parts during rehearsals. At the Soho Theatre, the first half felt light and comedic, while the second half felt quite heavy. We wanted to bring more lightness and music into the second half, so it didn’t feel like we were switching genres. Now, the whole piece feels more unified in tone.”
Qureshi was born in Pakistan, grew up in Saudi Arabia, and moved to London at 16. She said her hope was that the word “lesbian” in the title will not stop south Asians from coming to see the play.
“I know the word ‘lesbian’ in the title might put off some in the Asian community, like aunties and uncles. But I really hope they come. My mum watched it the last time and loved it. Both my parents are coming this time. I hope others from south Asian backgrounds see that lesbians are human, too. There’s humour, love, and passion. I hope people are moved by it.”
The crew of The Ministry of Lesbian Affairs
Qureshi said the play reflects real issues faced by many Asian women and added that there is still “a lot of ignorance” in Britain about how hard it is to migrate. “People think you can just come here, get a job, a council house and benefits. But that’s not true,” she said.
According to her, the heart of the play is about listening. “We live in a world where it’s easy to avoid people who don’t think like us. Online, we only see what we agree with. But the theatre is different, you can’t switch it off. You have to sit and listen. You might not agree, but you can still understand and empathise,” she said.
Qureshi added that the play’s choir conductor has a line that sums up this message: “You sound best when we listen to each other.”
Another theme is about finding one’s voice, especially for those who have felt shame about who they are. “Many characters in the play have struggled with identity – gay shame, lesbian shame,” she said. “The choir gives them a safe space to be proud, to discover who they are, and to celebrate each other.”
Qureshi studied English literature, initially worked in journalism, law and the charity sector, and became a full-time playwright around six years ago. Her earlier play, The Funeral Director, won the Papatango Prize in 2018 and opened the door to more writing opportunities.
Reflecting on representation in British theatre, Qureshi said Asian stories are still underrepresented. “We struggle to get big names or access large stages. Often, when our stories are told, they’re negative – about terrorism or honour killings. That makes me angry. I wanted to prove I can write anything, not just ‘Asian’ topics.”
She believes Asian stories matter because they challenge racism and help people feel seen. “ G r o w i n g up, everyone I saw on TV was white. I remember wishing I was white. Today, I’m proud of my heritage, my skin, and my language. But young people shouldn’t have to feel like I did.”
Qureshi credits role models such as the National Theatre’s Indhu Rubasingham, and Asian playwrights Tanika Gupta and Anupama Chandrasekhar for paving the way for those like her.
The Ministry of Lesbian Affairs opened at Kiln Theatre on June 13 and will run until July 12.
From the moment Poppy and Rubina stepped onto the stage of Soho Theatre in central London for Brown Girls Do It Too: Mama Told Me Not to Come, the energy was electric, the laughs non-stop, and the message loud and clear: British Asian women are done with silence.
What began as a ground-breaking, award-winning podcast that sparked online backlash for daring to talk openly about sex and relationships within South Asian communities has now evolved into arguably the most unique and fearless live show of the year.
Set against a cheekily colourful bedroom backdrop, this dynamic duo dived headfirst into everything from sex, shame, fantasies and motherhood to the layered realities of growing up as British Asian women. With sharp, smart transitions between confessional-style conversation and character-driven sketches, the show
managed to feel both intimately honest and wildly theatrical.
It is rare to witness a show that is both this hilarious and this importantAMG
One moment they were sat discussing sexual awakenings and mother–daughter culture clashes; the next, they were morphing into wickedly satirical versions of Priti Patel and Suella Braverman or belting out a catchy song – a side-splitting ode to Jolen bleach and body hair, brilliantly riffing off Dolly Parton’s Jolene. A recurring sketch involving a “Coconut Crimes Hotline” was a comedic masterstroke, and their hilarious mother–daughter bits had most in the audience instantly relating.
It is no surprise the crowd, largely women, many of them British Asian, responded with raucous joy. This representation, delivered with bite, boldness and belly laughs, made them feel seen. They did not just watch Mama Told Me Not to Come – they felt it, because it reflected them.
Poppy and Rubina’s magnetic chemistry, unstoppable presence and ability to straddle personal vulnerability with political satire was nothing short of genius. It is rare to witness a show that is both this hilarious and this important. And just when you think it is all laughs, they deliver a powerful emotional gut punch, ending the evening with heartfelt letters to their respective mothers, which brought tears to many eyes and underlined just how deeply the show resonates.
This is not just a standout – it is the show that is going to take the Edinburgh Fringe by storm in August. Bold,
brilliant, blisteringly funny and ultimately moving, Brown Girls Do It Too is a fantastic five-star triumph in every sense.
A NEW play explores the issues faced by this current generation of immigrants and questions the definitions of freedom and liberation, its playwright has said.
Permission, written and co-produced by Hunia Chawla, casts a questioning eye on the trope of ‘the oppressed Muslim woman’ and examines the links between patriarchy, protest, and the global political order.
In an interview with Eastern Eye, Chawla said, “There are not many voices of contemporary immigrants in today’s world. The immigrant stories we hear are from the 1950s and 1970s.
“There is not much discussion taking place, and I believe it is an important discussion to have, given everything that is happening in the world. What is the role of protest? Who gets to decide what freedom is? This tension between the West and the East that we often observe offers a new way of looking at these issues.”
Through the stories of Hanna (played by Anisa Butt) and Minza (Rea Malhotra Mukhtyar), the 70-minute play, which moves between a Heathrow immigration queue and a rooftop in Karachi, explores themes such as friendship, sisterhood, identity politics, and state violence.
“I believe this trope (the oppressed Muslim woman) holds significant importance because it is frequently employed to justify numerous oppressive measures against people from the global south, Muslims, and specific nations,” Chawla, who is in her late 20s pointed out.
“Consider, for instance, the situation in Afghanistan. There exists considerable outcry regarding the Taliban, and quite rightly so, as they are indeed oppressive towards women. However, the response to this oppression is the assertion that “we must save Afghans from the Taliban,” which then leads to sending weapons and dropping bombs on that very country under the guise of liberation. One ends up killing the same people one purports to liberate, and the irony of this situation is not lost on observers
“Similarly, regarding the Israel-Palestine conflict, much of the propaganda centres on the claim that all Palestinians are oppressive towards women and gender minorities, and this assertion is then used to justify genocide. Identity politics has become so divorced from actual political violence that it proves harmful at times – indeed, it is sometimes weaponised in deeply damaging ways.”
Hunia Chawla
According to the writer, who is from Karachi and lives in Yorkshire, the solution to the issue lies “simply in maintaining awareness”.
“It is crucial to recognise that Muslim women are not the only ones facing oppression, patriarchy exists everywhere. It is present here in the UK and across the globe, merely manifesting in different forms. The critical factor is determining who tells the story and who it serves.
“Currently, I observe a narrative structure featuring a saviour and the oppressed, with engagement conducted in a manner that serves the so-called saviour, who are, paradoxically, also the oppressors. This approach proves unhelpful and reinforces a colonial mentality of “we are modern and shall liberate you,” while considerable harm is being inflicted that remains largely unacknowledged,” she added.
In the play, Hanna tries to balance her political beliefs and personal choices by presenting herself as a ‘proper’ Pakistani woman. Her best friend, Minza, doesn’t care about appearing respectable to others. Their close friendship, played out in the busy city of Karachi, faces a major challenge when Hanna relocates to London seeking personal freedom and independence, meanwhile Minza stays behind in Karachi to campaign for political change through protests.
Chawla explained that while the play follows a chronological structure, showing Hanna’s journey from Karachi to London, it incorporates numerous flashbacks to her childhood and teenage years, creating a non-linear narrative.
She expressed her fascination with magical realism, noting that incorporating less naturalistic elements allows for greater character dimension and environmental shifts.
The play explores two distinct approaches to seeking freedom through its protagonists. Originally created as a 20-minute one-woman show and performed to a packed audience at The Space in London, Chawla developed the play into its current form over two years. She collaborated with director Neetu Singh to provide a “new vision” for the play.
She explained that Permission initially told the story of an immigrant girl from Pakistan dealing with the contemporary immigration process.
“The story expanded to explore the broader politics of immigration and questions of liberation and freedom, particularly for south Asian women navigating the immigration process and the complexities of dual identity between Karachi and London,” she said.
“Permission came from the essential question of what liberation means and who gets to define it,” Chawla said.
A still from rehearsal
She noted that Western media often presents reductive narratives, such as in Bend It Like Beckham, where a brown girl from a conservative family becomes “liberated” through western ideas, reinforcing a colonial mindset that positions the west as the standard for modernity and liberation.
The British Pakistani artist highlighted the hypocrisy within this narrative, explaining that while the main character Hanna may feel more secure as a woman in the UK, she encounters censorship when attempting to speak about state violence, Palestine, or western complicity in global conflicts.
“The liberation question becomes complicated – you’re not free to do everything. There’s a condition to that freedom,” she observed.
The Asian actor-writer developed an interest in poetry from a very young age. She studied at the University of Warwick and pursued a career in the financial sector upon completing her studies. She completed the Old Vic Theatre Makers programme and is currently part of the Soho Writers Lab.
Chawla added, “Viewers don’t need to be politically engaged to appreciate the production, as the play’s strength lies in intimate moments and the beautiful portrayal of friendship and sisterhood between its characters. Permission operates on multiple levels, combining serious political themes with genuine entertainment value. It is genuinely funny and engaging.”
She expressed confidence in the production’s broad appeal, noting that previous performances attracted diverse audiences who responded enthusiastically.