As Norris steps down, National looks for new artistic director from 'diverse backgrounds'
Theatre’s artistic director and chief executive stresses need for greater diversity in art
By Amit RoyJun 21, 2023
RUFUS NORRIS has announced he will be stepping down in spring 2025 as artistic director and chief executive of the National, “arguably the most influential theatre in the world”.
The search for his successor has started with no reason to think that an Asian, possibly an Asian woman, won’t apply for the job.
In February 2021, when the National Theatre won Eastern Eye’s Arts Culture and Theatre Awards in the community engagement category for its commitment to diversity, it was Norris who collected the prize.
At a news conference last Thursday (15), he said: “I’m confirming that I will be stepping down as (artistic) director and chief executive of the National Theatre in spring 2025. This is when my current NT contract comes to an end. It’s absolutely the natural point and I would have been in post for 10 years.” He added: “Recruitment will begin imminently and the board intend to have appointed my successor or successors by the end of this year or at the latest early into the next. It is a long process, inevitably, because of the scale and complexity of the organisation. It’s also imperative that the search is wide and inclusive.”
He said he had been reflecting on the “lively” eight years he had been in charge. The National had weathered “Brexit, Covid, five prime ministers, 10 culture secretaries, the Black Lives Matter movement, the rise of social media, the culture recovery fund, a very welcome rise in philanthropy and post pandemic audience patterns which we’re still getting our heads around.”
He added: “After what has undoubtedly been the most challenging time in our history since I became director in 2015, a profound intent has shaped the work we make and stage alongside how we engage with audiences and communities. And as a result, the National is today a very, very different place with a very different impact. The defining aspect has been
an increased commitment to new writing and nurturing talent through our new work department.
“Just to give you a little snapshot of that, from the beginning of this year until this time next year, 19 of the 21 productions on the South Bank will have or will have had the writer in the room.” Norris also spoke about the need for greater diversity: “Another area of focus, of course, has been moving the dial on the key area of historic under representation and, through the work, what we’ve done to address this. We have indisputably demonstrated the value of representation in the quality and resonance of our work.
“Aside from the straightforward celebration of Britain, now a plurality and diversity of voices have enriched art the world over. And it has been hugely important that we play our own part in that.
“Of course, it’s also impacted on the breadth of our audiences in London, around the UK, and globally in its simplest terms. Breadth of influence makes the art better. And that’s what we’re here for. “Looking back, I’m also very pleased and relieved that this is matched by the fact in the five years before Covid, we consistently reached the highest audience figures in the history of the National. And, this year, finally, we are back to that strength.”
Among “fantastic work” done at the National, he cited The Ocean at the End of the Lane, Blues for an Alabama Sky, The Crucible, The Lehman Trilogy and Small Island.
He said: “And while I would never claim or pretend that it’s all been risk free, with the increased amount of new plays we have strengthened the National Theatre’s position as the most prolific and arguably most influential theatre in the world.”
Asked for his own plans, he replied: “Well, the immediate future involves about 20 productions, all of which are going to have my absolute focus.”
Asked further about whether the National would be continue to respond to such developments as Black Lives Matter, the “war on woke”, the attacks on the National Trust and race relations in general, Norris said: “We’re the National Theatre, it’s up to us to reflect the national conversation.”
He referred to the play, Dear England: “It’s a play about football. On one level, it’s not a play about football at all. It’s looking at English masculinity. And that is a really, really current part of the contemporary conversation at the moment. I don’t need to talk about the relevance of Grenfell (another play in the pipeline). It’s beholden on all the major arts institutions to talk about the key issues of the time.
With the release of Pia’s Pet Club: Puppy Problem on 8 May, award-winning author Serena Patel brings young readers a heartwarming new series that combines humour, friendship, and cultural representation. Known for her Anisha, Accidental Detective books, Patel spoke to us about her inspiration, the writing process, and why visibility in children's literature matters.
From PowerPoint slides to pet chaos
The origins of Pia’s Pet Club are rooted in a familiar family negotiation. Patel recalls, “My son was trying to persuade us to get a bigger pet. He made PowerPoint slides, showed us TV programmes, did all his research. Eventually we gave in—and now we have two ragdoll cats.”
That experience inspired Pia, a young girl desperate for a pet of her own. When her parents say no, Pia sets out to prove she’s responsible by helping her friend Hari train his unruly puppy, Luna. Predictably, chaos follows—and so does the idea of forming a pet club.
One of Patel’s favourite scenes to write involved a spectacularly failed attempt to train Luna. “It was really fun to write. The kids think it’ll be easy, but the dog has other ideas,” she laughs.
A heroine with heart and flaws
Pia is Patel’s latest strong-willed lead character. “She doesn’t always get it right, but she’s trying her best,” she says. “She’s flawed and real, just like any child.”
Patel, who grew up in a South Asian household, shares that she never saw herself in books as a child. “I never came across South Asian characters in funny stories. Seeing yourself in a book gives you a sense of belonging—it’s validating,” she explains. Pia’s cultural background is woven naturally into the narrative, from home-cooked meals to family dynamics and familiar words.
A visual world, brought to life
The illustrations in Pia’s Pet Club are by Emma McCann, who has worked with Patel for several years. “Emma’s brilliant. It’s like she has a camera inside my brain,” Patel says. “She adds humour and detail that isn’t even in the text. It’s a real collaboration.”
Set in the communal garden of an apartment block, the book explores the power of community, teamwork, and belonging. Patel describes it as a departure from the mystery genre that defined her previous work. “This one feels more like a warm sitcom—funny, but full of heart.”
The first book took nearly three years to develop, from idea to finished manuscript. “There were moments I doubted myself, but I wanted to make it the best it could be,” she admits.
What's next for Pia?
The series is already expanding. The second book, The Secret Kitten, is due in January 2026, and the third, Guinea Pig Showtime, will follow in July 2026. Readers can expect more mishaps and humour as Pia and her friends take on new pet-related challenges, including a pet talent show.
From page to screen?
With Anisha, Accidental Detective in development for television by BBC Studios Kids & Family—featuring Emmy-winning actress Archie Panjabi as executive producer—it’s no surprise that Patel has considered a screen future for Pia as well.
“It’s the dream,” she says. “The setting, the characters, the themes—they’d all work brilliantly on screen.”
Ahead of the launch, Patel is preparing for a number of school visits and events. “It’s a new series. You never know how it’ll be received,” she says. “But the early feedback has been great.”
For readers young and old, Pia’s Pet Club offers a story of determination, friendship, and cultural pride. “Books are powerful. They stay with us,” Patel says. “And if Pia makes just one child feel seen or brings a smile to their face, then I’ve done my job.”
Saxton Bampfylde has announced the appointment of Jonathan Badyal as senior advisor to its arts, culture and creative industries practice. The firm, which has supported this sector for nearly four decades, works with some of the world’s most respected cultural organisations on senior leadership appointments.
Badyal brings a wide breadth of experience across the creative industries, including roles in both the public and private sectors. He is currently a partner at Trafalgar Strategy, a global advisory firm, where he provides strategic and communications counsel to CEOs and leading creatives. With a particular interest in India, Badyal is also working to develop the UK’s cultural ties with the country, exploring opportunities for collaboration in the arts and creative sectors.
During his career, Badyal spent eight years at Universal Music UK, most recently serving as director of communications. In this role, he managed key relationships across the creative industries and government. Prior to this, he spent five years advising the UK government’s culture and digital minister, gaining deep insight into arts and creative industries policy.
His board roles include deputy chair at the Black Country Living Museum and interim chair of the National Academy for Social Prescribing. He has previously served on the Tate Modern advisory group and was recently listed in the PRWeek UK Power Book 2025.
Saxton Bampfylde’s arts, culture and creative industries practice has partnered with a wide range of organisations across the sector, including the National Theatre, British Museum, V&A, BBC, SXSW, and the GRAMMYs. The firm has also worked with a number of prominent theatre institutions, including the Almeida Theatre, Trafalgar Entertainment, Punchdrunk, Young Vic, Sheffield Theatres, Birmingham Rep and Pitlochry Festival Theatre.
Ed Bampfylde, head of the arts, culture and creative industries practice, said: "We are thrilled to welcome Jonathan to our team. His breadth of experience across the creative industries gives him a unique perspective that will be invaluable to our clients. Jonathan's commitment to the sector, coupled with his vision and depth of understanding of the evolving creative landscape, perfectly complements our mission to identify and support transformative leaders."
Commenting on his appointment, Badyal said: "I’ve always had a real passion for putting people together, particularly when it comes to boards and CEOs looking for exceptional individuals who can bring something different to their organisations. I’m delighted to now be doing this in a formal capacity, advising the team at Saxton Bampfylde as they continue to work with some of the world’s most important organisations in sectors I care so deeply about."
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Dylan has previously described painting as a way to “relax and refocus a restless mind”
Bob Dylan will exhibit a new series of original paintings at the Halcyon Gallery in London from 9 May. The collection, titled Point Blank, features 97 recent works and will be open to the public free of charge.
The exhibition follows renewed interest in Dylan’s life and career following the release of the biopic A Complete Unknown earlier this year. Now aged 83, the musician remains active, both as a touring performer and visual artist.
Point Blank comprises works based on original sketches Dylan created between 2021 and 2022. The subjects include musicians, couples, sportspeople, interior scenes, and locations Dylan has spent time in. The sketches were later transformed using vivid colours, which Dylan describes as “living, breathing entities that have emotional resonance”. He said the colours act as “weapons and mood setters” and serve as “a means of storytelling”.
Commenting on the intention behind the series, Dylan said: “The idea was not only to observe the human condition, but to throw myself into it with great urgency.” Some of the images include a saxophonist, a cowboy standing before a rising sun, and a mirror reflecting a set of lips. A number of the works use blue, red, and neutral monochromatic tones, prompting comparisons to Pablo Picasso’s early Blue Period.
The Point Blank collection also originated as a book and features accompanying prose. According to Kate Brown, creative director at Halcyon, “These works on paper feel like memories, intangible windows into the life and imagination of one of the greatest storytellers who ever lived.” She added that the exhibition is likely to engage viewers' imaginations, encouraging them to consider the lives of the characters portrayed and the spaces depicted.
This is not Dylan’s first collaboration with Halcyon Gallery. In the past, the venue has showcased his Drawn Blank series, which featured graphite sketches made between 1989 and 1992 during tours across Europe, Asia, and the United States. Those works were also later reinterpreted with colour.
Dylan has previously described painting as a way to “relax and refocus a restless mind” during the demands of touring life.
Paul Green, president and founder of Halcyon Gallery, said: “It is nearly 18 years since Halcyon first started working with Bob Dylan and it has been an extraordinary experience to watch this cultural icon develop into such a critically revered and important visual artist so closely.”
He added: “This latest body of paintings feels like a more intimate connection to the artist than in any of his previous work and it is a great privilege to share them with the public for the first time.”
The Point Blank exhibition will be on display at the Halcyon Gallery on New Bond Street, starting from 9 May. Entry is free.
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'The Archives' will be on display from 21 November 2025
A model of The Grand Budapest Hotel will be among more than 600 objects featured in a major new Wes Anderson exhibition opening at the Design Museum in London later this year.
Titled Wes Anderson: The Archives, the retrospective has been developed by the museum in collaboration with the acclaimed American filmmaker and La Cinémathèque française. It is set to open on 21 November 2025 and will explore Anderson’s distinctive visual style, detailed craftsmanship, and storytelling across his career.
Wes Anderson, who turns 56 this year, is known for films such as The Royal Tenenbaums, Fantastic Mr Fox, Moonrise Kingdom, The French Dispatch and the Oscar-winning The Grand Budapest Hotel. The latter, released in 2014, received Academy Awards for Best Production Design and Best Costume Design.
The exhibition will present a chronological journey through Anderson’s work, with each section dedicated to one of his films. Central to the display is a candy-pink model of The Grand Budapest Hotel, which served as a key element in the film’s production. The story follows M. Gustave, played by Ralph Fiennes, a concierge at a luxury hotel in a fictional European country during the early 20th century.
Among the other featured items are the vending machines seen in Asteroid City, the Fendi coat worn by Gwyneth Paltrow’s character in The Royal Tenenbaums, and the original stop-motion puppets used to depict underwater creatures in The Life Aquatic with Steve Zissou.
Costumes worn by cast members across various Wes Anderson films will also be on display. These include Benicio del Toro’s outfit as Moses Rosenthaler in The French Dispatch, as well as costumes worn by Ralph Fiennes, Scarlett Johansson, Jason Schwartzman, Ben Stiller, Tilda Swinton and Owen Wilson.
A section of the retrospective will focus specifically on Anderson’s work in stop-motion animation, including Fantastic Mr Fox and Isle of Dogs. Visitors will also be able to see unfinished props, set pieces, and other materials that reveal Anderson’s methods and collaborative process.
In addition, a selection of Wes Anderson’s handwritten notebooks will be included. These documents offer insights into the inspirations, character development, and storyboarding behind his films.
Tim Marlow, director and chief executive of the Design Museum, said: “Wes Anderson has created some of the most visually distinctive and emotionally resonant films of the last two decades — from the melancholic charm of The Royal Tenenbaums to the youthful adventurism of Moonrise Kingdom. He’s an utterly compelling creator of cinematic worlds, whose singular vision and attention to detail are underpinned by an acute understanding of design and craftsmanship, which is why the Design Museum is the perfect location for this landmark retrospective.”
The museum previously hosted a successful exhibition on Tim Burton in 2024, which included notable costumes such as Jenna Ortega’s Wednesday dress and Michelle Pfeiffer’s Catwoman suit.
Wes Anderson: The Archives will be on display from 21 November 2025 at the Design Museum in Kensington, London.
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His Indo-Trinidadian parents introduced him to Indian folk traditions
His name may not be widely known outside the Caribbean, but Sundar Popo was a hugely influential singer and pioneer who ranks among the greats of world music.
He popularised, transformed, and effectively created an entire commercial musical genre that connected the large Caribbean community of Indian descent to their cultural roots.
Affectionately known as the father of chutney music, which blends Indian folk traditions with Caribbean genres like soca and calypso, he inspired generations of artists to follow in his giant footsteps. A true pathbreaker, Popo made a profound impact before his premature death on May 2, 2000, aged 56.
Eastern Eye marks the music icon’s death anniversary this week by revisiting his remarkable story.
Born on November 4, 1943, in the Barrackpore district of Trinidad, Popo grew up in a musical family. His mother was an accomplished singer, while his father was a talented tassa drummer.
From an early age, his Indo-Trinidadian parents introduced him to Indian folk traditions. Demonstrating natural musical ability, the gifted teenager began singing bhajans at temples, religious gatherings and weddings by the age of 15. He also trained in Indian classical music under Ustad James Ramsawak, all while working as a watchman. After quitting his job due to ill health, Popo devoted himself fully to music.
The turning point came in 1969, when Popo performed at a wedding in Princes Town. Leading radio announcer and promoter Moean Mohammed was in the audience and was so captivated by Popo’s talent, particularly his rendition of Nana and Nani, that he immediately decided to record and release it. Mohammed got the song recorded with the British West Indies Airways (BWIA) National Indian Orchestra. The multi-layered track about grandparents transformed Indo-Trinidadian music and effectively gave birth to chutney as a commercial genre.
Chutney music icon Terry Gajraj recalls how Nana and Nani inspired his own singing career. “When I was a young man, singing bhajans and kirtans in temples, I was a little lost as to who I was and what genre defined me. You had Bollywood songs, calypso, soca – but then with Sundar’s Nana and Nani, I knew it defined who I was. My ancestors came from India, but I was born in the West Indies. That song brought those two cultures together for me.”
Following the success of Nana and Nani, Popo focused on his music career. He released an album that fused Trinidadian music with traditional Indian folk styles, earning immediate popularity. He went on to produce more than 15 albums, mixing Trinidadian Hindi and English dialects with musical elements from both cultures.
Popo’s singles and albums were distributed across the Caribbean, South America, North America and Europe. By the 1980s, he was performing internationally and sharing the stage with major Indian stars like Amitabh Bachchan and Kishore Kumar. His reach expanded further when popular Mumbai-based duo Babla & Kanchan covered several of his songs, including Pholourie Bina Chutney, introducing him to new audiences.
Gajraj adds, “There are so many great songs of his that Indian artists covered. Babla & Kanchan became popular because of Sundar Popo’s songs.”
In total, Popo penned and recorded 165 songs, including Scorpion Gyul, A Mother’s Love, Oh My Lover, Don’t Fall in Love and Saas More Lage. These songs influenced generations of chutney artists. Gajraj said, “Sundar has been my greatest inspiration as a singer. He’s not just a legend – he’s the godfather of chutney music. Every single chutney singer has a little bit of Sundar Popo in them.”
Popo revolutionised the Indo-Caribbean music scene by fusing Indian folk melodies with calypso and soca rhythms. He took chutney music from the rural villages of Trinidad to international recognition. His songs – often about love, family and nostalgia – became timeless anthems.
He received numerous honours, including a National Award for Excellence. He also won the King of Chutney award in Florida in 1993 and later performed at the prestigious Madison Square Garden in New York during the late 1990s.
His music found fans across North America, Europe, India, Fiji, Mauritius, Guyana and Suriname.
Despite deteriorating health and eyesight, he continued to record and perform. During the 2000 Chutney Soca Monarch (CSM) competition, his performance had to be cut short after one song due to illness. CSM founder George Singh remembers that night vividly. “Sundar Popo was a musical giant, and everyone looked up to him. He loved music, and that passion came through on stage. Before that final CSM performance, it was clear his health was failing. I asked him if he was okay, and he said, ‘I will die on that stage if I have to.’”
Popo gave his final performance a month later, on April 1, in Connecticut. He passed away on May 2, 2000, from heart and kidney complications related to diabetes, at his home on Lal Beharry Trace in Monkey Town. His funeral was attended by family, friends, fans, members of the music fraternity and dignitaries, including then Trinidad and Tobago prime minister Basdeo Panday.
Popo’s statue was later unveiled by then prime minister Kamla Persad-Bissessar on May 29, 2011, in the Debe district of Trinidad and Tobago. The National Academy for the Performing Arts (SAPA) in San Fernando named an auditorium after him. His granddaughter, singer Natasha Sundar, is proudly carrying forward his musical legacy.
Today, the biggest names in chutney music – including Ravi B, Rikki Jai and Drupatee Ramgoonai – continue to pay tribute to him.
At the 2025 CSM competition, Terry Gajraj dedicated his performance to Popo and said, “All the artists pay tribute to Sundar Popo. He has influenced our music, lyrics and what we are trying to say. Almost every single chutney singer covers a Sundar Popo song. He was the greatest.”
A true pioneer, Popo enriched the musical landscape and touched the hearts of music lovers around the world.
Chutney media personality Vashtie Doorga believes he deserves recognition alongside the greatest Indian music legends. “Sundar Popo not only popularised an entire genre and inspired generations of artists, but built a bridge to India for the large Caribbean community with roots there. When we talk about the greatest artists of Indian descent, his name has to be in that conversation.”
Sundar Popo albums
■ Come Dance with the Champ (1979)
■ Hot & Spicy (with Anup Jalota) (1980)
■ Hot & Sweet (1981)
■ The Nana and Nani Man Sings Again (1982)
■ Sundar Fever (1985)
■ The Latest, The Greatest (1986)
■ Sundar Soca (1986)
■ Indian Soca (1987)
■ Screwdriver (1988)
■ Oh My Lover (1989)
■ Nana & Nani Don’t Cry (1989)
■ Sundar Popo’s Heartbreak (1990)
■ Who We Go Bring Back Again? (1991)
■ Is The Spaner She Want (1992)
■ Sweet Sweet Guyana (with Anand Yankaran) (1993)
■ Children Children Respect Your Mother & Father (1993)