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.
AN ASIAN actor in a hit play has spoken of the joy of making audiences laugh as the show is now in its 11th year.
South Asian actor Mitesh Soni plays Dennis/Perkins the Butler in The Play That Goes Wrong at London’s Duchess Theatre, where it was performed for the 4,001st time in June.
The award-winning comedy tells the story of a classic whodunnit, with a murder at a country manor and an inspector on the trail of the culprit.
And , a scene from The Play That Goes Wrong
But when the accident-prone Cornley Drama Society attempts to stage the tale, everything that could possibly go wrong does. Sets collapse, lines are forgotten and cues are missed, yet the cast battle on to the final curtain with chaotic and hilarious results.
“It’s a real privilege. The play has been running in the West End for 10 years. I’m part of the 11th cast, and it has won so many awards,” Soni told Eastern Eye. “It’s a worldwide hit – it’s on in London, New York and Spain.
To be part of that is a real joy, specially making people laugh. What I enjoy most is hearing the audience laugh. Even though we know what’s coming, they don’t. When the set falls apart or when someone enters at the wrong time, the audience cries with laughter. That makes it fun for us, because they are really engaged while we still tell the classic whodunnit story.”
Soni explained why the play resonates with audiences, year after year. “The story is simple – a classic murder mystery – but everything goes wrong. Audiences can switch off and enjoy it. It works for tourists, families, schools, and young people seeing this kind of theatre for the first time.”
Laughter is a universal language and transcends borders, he said.
Soni attributed the appeal of the play to its witty script as well as its physicality.
Every stumble, crash, and calamity must appear spontaneous, but in reality, it is tightly rehearsed, he said.
“The challenge is making things look like they’ve gone wrong without real danger. Much of it is choreographed – fights, falls, injuries. We have to make sure it’s safe while looking chaotic. We learn techniques, like how to trap a hand in a door or bang a head against a wall safely,” Soni said.
Directed by Mark Bell and written by Henry Lewis, Jonathan Sayer and Henry Shields, the show faces the challenge of keeping things fresh. For actors stepping into well-known roles, comparisons are unavoidable.
“I was nervous when I knew the original actor, who created the role, came to watch. But I can’t let that affect me. I have to play my own version. Every actor brings something different, and that keeps the show fresh,” Soni said.
Some theatre-goers return 20 times just to see how a new line-up changes the chemistry of the show.
Soni said, “It’s about playing truthfully in the moment. With comedy, you must allow the audience in – let them laugh, before continuing. Even in the serious parts, you must tell the story clearly. Without the story, it would just be chaos. The audience needs to be invested in the mystery while also laughing.”
Soni, who trained at the Guildford School of Acting, described what his Asian heritage means in the industry.
“If south Asians want to get into acting, I would say two things: you’ve got to really love it, and you’ve got to be able to handle rejection. It’s a tough business. You’ll get a hundred ‘no’s’ for every ‘yes’. If you can’t cope with that, it’s not the right career,” he said.
“I still find rejection hard, but I know I love what I do. It’s not about fame or money. I also feel a responsibility as a south Asian actor. I’m one of the few who has played this role. Visibility matters. If a young south Asian person sees me on stage and feels inspired to try acting, then I’ve done my job. We’re not just doctors, lawyers or engineers – we’re in the arts too.”
But he said aspiring young actors should also to be pragmatic.
“I’d also say: have a second job on the side, so you can support yourself while waiting for acting work.”
*The Play That Goes Wrong will run at the Duchess Theatre until August 2026.
Rowling dismisses Watson's recent conciliatory tone as a calculated shift.
The author argues Watson's life of fame and wealth has left her ignorant of real-world issues.
A 2022 BAFTA speech and a poorly received note are cited as a major breaking point.
Rowling contrasts her own past poverty with Watson's privileged upbringing.
She firmly states that public disagreement from former collaborators warrants a public response.
The bitter divide between J K Rowling and the stars of her Harry Potter world has just gotten much deeper. In a raw and personal online post, the author tore into Emma Watson, attacking not just her opinions but her character. Rowling branded the actress as "ignorant," claiming her life of fame has left her utterly disconnected from reality. This comes immediately after Watson made a public attempt to soften their long-running and very public disagreement on transgender rights, a move that seems to have only made the Harry Potter feud worse.
J K Rowling calls Emma Watson ignorant as old and new feminism collide in a bitter public feud Getty Images
What did Emma Watson say about J K Rowling?
It all started on a podcast, with Watson chatting to host Jay Shetty about navigating personal relationships amid public disagreement. She spoke about hoping to keep loving people she doesn't necessarily agree with, a comment widely understood to be about Rowling. She fondly referred to the author as “Jo,” talking about treasuring their shared past. It sounded like a peace offering, or maybe she’s just tired of the whole mess. “I will never believe that one negates the other,” she said, trying to hold two opposing ideas in her hands at once. It was gentle. It was careful. And Rowling clearly hated every second of it.
This is where things got really nasty. She basically called Watson a rich kid who has no idea how the real world works. “Emma has so little experience of real life she’s ignorant of how ignorant she is.” She then drew a sharp line between their lives: Watson, a multimillionaire since her teens, versus Rowling herself, scribbling away in poverty while creating the entire Potter universe.
Her point? Watson can afford to champion certain ideologies from a cushy, protected bubble. Rowling, claiming her own gritty past, says she understands what’s really at stake for vulnerable women in public spaces. It’s the classic “you’ve never had it tough” argument.
— (@)
What was the final straw for J K Rowling?
Turns out, it was something years ago. She revealed the true "turning point" wasn't just Watson's public criticism, but a moment during the 2022 BAFTA Awards. Watson was on stage, and made a little quip about being there “for ALL the witches,” which everyone read as a sly dig at Rowling. But then, according to Rowling, Watson sent her a note. The note read: "I’m so sorry for what you’re going through."
It arrived when Rowling felt most exposed. She says the threats were at their worst; graphic promises of death, rape, and torture flooding in. Her security team had to tighten everything down. The fear for her family's safety was a constant worry. In that climate of genuine terror, Watson's note felt like a slap in the face. From Rowling's perspective, it was a hollow gesture, a one-line sympathy card offered after Watson had publicly poured fuel on the very fire causing the chaos.
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The generational lens shaping this conflict
Rowling's views come from a place of real struggle. She remembers living in poverty and struggling for everything. When she speaks of women's shelters and safe spaces, she is referring to physical protection for women based on their biological sex. These are real things to her, and she feels they should be safeguarded.
Watson sees things differently. She represents a newer way of thinking. Her focus is on identity and making sure everyone feels included. Her work with the UN and her public comments show this. She believes how people identify themselves is what matters most. For younger people, this makes perfect sense. For Rowling's generation, it can seem like it ignores real-world dangers.
Emma Watson reflects on her fallout with JK Rowling Getty Images
Two different ways of speaking out
Their conflict also shows how the rules for famous people have changed.
Watson's approach is modern. She is careful with her words, choosing to let her deeds speak for her. This works well today, where social media rewards this kind of subtle support.
Rowling slams Watson’s privileged perspective in trans rights clash revealing how generations see activism differentlyGetty Images
Rowling does things the old way. She writes long posts explaining exactly what she thinks. She isn't afraid to start a debate or stand alone in her opinion. She acts like someone who expects people to read her full argument and engage with it directly.
They're not just disagreeing about issues, they're using completely different playbooks from different times. One speaks in careful hints and shared understanding, the other in direct arguments and clear lines. No wonder they can't hear each other.
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