Niall Moorjani brings colonial history to life with powerful new play 'Kanpur: 1857'

This summer, Niall Moorjani returns to the Edinburgh Festival Fringe with Kanpur: 1857, an explosive new play that fuses biting satire, history and heartfelt storytelling. Written, co-directed and performed by Moorjani, alongside fellow actor and collaborator Jonathan Oldfield, the show dives into the bloody uprising against British colonial rule in 1857 India, focusing on the brutal events in Kanpur.

At its centre is an Indian rebel, played by Moorjani, strapped to a cannon and forced to recount a version of events under the watchful eye of a British officer.

Known for work that intertwines mythology, identity and activism, Moorjani is a neurodiverse, Scottish-Indian theatre-maker based in Edinburgh and founder of Suitcase Storytelling Company. Together with Oldfield, they present a unique show with live music that carries emotional weight and contemporary relevance.

Eastern Eye caught up with Moorjani to talk about the power of theatre, creativity, history and their compelling new production, Kanpur: 1857.

What first connected you to creativity?

I have always just loved stories. It was a classic case of wanting to be a writer when I was small. My mum is a really creative human and wrote (though sadly never published) a fantasy book when I was a teenager, which I thought was the coolest thing. Then I discovered I loved acting and became obsessed with stand-up DVDs by Eddie Izzard and Dylan Moran. Those things inspired me so much. But at its core, I think it is a combination of a love for stories and my mum being so supportive and nurturing.

What inspired your play Kanpur: 1857?

The events of the play were the main inspiration. In 1857, hundreds of thousands of Indians in the north rose up to overthrow the British. Hindus and Muslims were united in the cause. Ultimately, they failed, and the British response was incredibly severe. It is a period of history I have always found fascinating, especially the way the British were horrified to receive the kind of violence they had been inflicting for decades. The play was also inspired by events in Gaza.

Tell us about that.

I found the parallels impossible to ignore – a violent (and morally complex) act of resistance against colonialism being met with vast collective punishment. The play is about 1857, but I am highly aware people will think of Gaza while watching it, and I want that.

Tell us about the play.

It is an explosive, satirical take on the Indian uprising of 1857, focusing specifically on the events in Kanpur. I play an Indian rebel who is strapped to a cannon and forced to tell their version of events by a British officer, played by Jonathan Oldfield. There is a trans love story, romance, jokes, drama, betrayal and devastating storytelling. All of this is set to live music by tabla master Sodhi. We have been super lucky to win the Charlie Hartill (global majority) award with Pleasance and cannot wait for people to see it.

Is there a key message you want to convey with the show?

That what the British did in India is still happening around the world today. Colonialism and colonial oppression did not end in 1857, nor in 1947 with Indian independence. These histories speak directly to our present, and we must learn from them.

Did you learn anything new while putting this play together?

Just how complex and messy the events at Kanpur were. And while I was not shocked, it is always fascinating to see how our sources from that time mostly come from the British – in this case, the victor masquerading as the victim. I could speak all day about it, so you will have to come and see the play.

An explosive new play that fuses biting satire, history and heartfelt storytellingPleasance

What was the biggest challenge of writing, co-directing and acting in this play?

Trying to hold the historical detail in my head, while also making sure the piece worked as theatre, was really tough. Fortunately, Jonathan Oldfield was amazing at helping us check in constantly on clarity without compromising on historical rigour. I expected the creative process to be harder, but it was surprisingly organic. Strangely, we often got stuck on small details – like how period-accurate the British officer’s coat should be, or what the opening projector slides should say. Naturally, self-directing is difficult, but co-directing with Jonathan really helped. As did the whole team.

What is your own favourite moment in the play?
I love the big laughs. It is a tough subject, but I am really pleased with how much comedy there is. Those moments bring levity, nuance and hopefully help the heavier parts land more powerfully.

How do you feel being part of this year’s Edinburgh Fringe?

Great. I feel so lucky that we won the Charlie Hartill award. I have done the Fringe so many times on a shoestring, and this has really been a game changer. I feel privileged. The Fringe has its problems, but I absolutely love it, and in real terms, I owe my creative career to it. I love that I have been going for so long. I have a little community I only see during the festival – it is a privilege to be part of that, alongside so many amazing artists.

Why do you love theatre as a medium?

It can and should be anything. It invites us to sit down for a few hours, and then rewards us with something that can be genuinely life-changing. I especially love Fringe theatre – bonkers ideas pulled off in just an hour on tiny budgets by small, immensely talented teams. That is inspiring and exciting.

Why should we all come and watch your play at the Edinburgh Fringe?

Rebellion, cannons, trans love stories and genuinely great satire of the British empire – why should you not?

Kanpur: 1857 is running throughout the Edinburgh Fringe at 15:40, July 30 to August 24, 2025, at Pleasance Courtyard (Beneath). Tickets: www.pleasance.co.uk