THE writer and lead actress of a play about the Grunwick strike against workplace exploitation said conditions now are “possibly worsening” for those in employment.
We are the Lions, Mr Manager! tells the story of Jayaben Desai, the leader of a strike movement against Grunwick Film Processing Laboratories in the 1970s.
The India-born activist fought for the rights of workers, culminating in a two-year protest that saw strikers across the country picket against working conditions, pay inequality and racism within the workplace.
Neil Gore told Eastern Eye that the Grunwick protest was the beginning of “normalising” bad working conditions, but noted that monitoring in warehouse jobs has “actually got worse”.
“It’s a continuation of the same thing [that happened at Grunwick],” Gore said last Friday (24). “You see exploitation in the workplace, especially exploitation of immigrant workers and so forth, that carries on today and in a way, it is worse.”
The play is an immersive stage show which attempts to get the audience as involved as possible. They are encouraged to get up from their seats to join the ‘picket’ and are even given various props to help them interact with the production, including protest placards and small torches to shine during musical numbers.
The show’s name comes from a direct quote from Desai who, in comparing the factory to a zoo, told her manager that the employees were not “monkeys who dance on your fingertips... we are the lions, Mr Manager!”
The role of Desai is portrayed in the play by actress Medhavi Patel, 33.
Patel, who has worked in corporate jobs in the past, said she knows about being unable to express views freely in the workplace.
“I’ve worked in places and had different situations where I couldn’t say what I wanted to, but I’ve always had the support of my family and friends,” she said. “I know you have to speak up and I have – I’ve had support to do that, but there are people out there who don’t.”
The play is currently in the middle of a UK tour, and a Q&A session was held last Tuesday (14) prior to the performance at the Tara Theatre in south London.
The session was attended by a series of key speakers, including Desai’s son Sunil, and writer and journalist Amrit Wilson, who said that although a lot has changed since Grunwick, a lot has stayed the same.
“[There is still] a large scale of racism, a scale of misogyny, which is increasing if anything, and the sheer exploitation of workers which is worse than it was,” she pointed out. “We now have zero-hour contracts, workers who do not have rights, and this is becoming normalised.”
In recent years, workplace exploitation has continued to be exposed in the UK. This year, the National Minimum and Living Wage statistics showed in 2016-17, HMRC’s enforcement teams identified £10.9 million in back pay for 98,150 of the UK’s lowest paid workers – a 69 per cent increase on those helped in the previous year.
A number of high-profile companies in Britain have been tarred by reports of workplace exploitation.
In 2015, it was reported that employees at the retail chain Sports Direct were effectively paid below minimum wage, were body-searched daily throughout their shifts and lectured by name via tannoy if their working pace was not fast enough.
Patel said she hoped the play inspires people to go out there and fight for what they believe in.
“No one is taught to fight, we are taught to accept,” she told Eastern Eye. “You should be able to have that discussion with employers – they are an asset to you, but you are also an asset to them.”
Gore agreed with Patel and said he hoped the performance motivates people to “continue the struggle”.
He said: “You can’t stop fighting – you fight again, and you fight again,” he said. “The fight goes on – the next generation has to pick up the baton and do the same again.
“We want the spirit of Jayaben to continue as well. We want to make sure [what she stood for] isn’t forgotten. Someone like her should be remembered.”
We are the Lions, Mr Manager! is showing at selected UK theatres until April 2018
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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