EASTERN EYE PAYS TRIBUTE TO THE MEN WHO PUT FAMILY FIRST ON BOLLYWOOD’S BIG SCREEN
ALTHOUGH selfless mothers have largely dominated Bollywood over the years, there have been plenty of great onscreen fathers in films who have won hearts of audiences and shown us all that good family men do exist.
To commemorate Father’s Day this week, Eastern Eye goes back through time to find memorable big screen Bollywood dads and those who stepped up for fatherly duties when it really mattered...
Abdul Rasheed (Dhool Ka Phool): The stunning 1959 directorial debut from Bollywood’s most successful filmmaker Yash Chopra was a brave movie tackling themes ahead of their time. The story includes a kind-hearted man named Abdul Rasheed who finds an abandoned child in the middle of a forest and fights against an unforgiving community to bring the child up as his own. The most unforgettable moment is when he sings Tu Hindu Banega Na Musalman Banega to the baby, which teaches the youngster that ahead of being a Hindu or a Muslim he should become a good and loyal human being first.
2. Brahmchari (Brahmachari): The 1968 musical drama saw Shammi Kapoor play an orphan who dedicates his life to looking after abandoned children. He does whatever it takes to care for the kids in his orphanage, even if it means sacrificing a chance of happiness with the woman he loves. None of the children are related by blood, but he is more than a father to all of them. The scenario of a kind-hearted orphan adopting orphans was later copied in 1987 smash hit film Mr India.
3. Hari Charan Mathur (Koshish): The 1972 film about hope revolves around a deaf and mute couple who fight against an unforgiving society to create a life for themselves. Sanjeey Kumar plays the devoted father and husband who will do whatever it takes to build a life for his son, including after the mother passes away. He works hard to educate his son. At the end, he teaches his son to not look down on disability and gets him to marry a deaf and mute woman. The concept of a deaf mute couple bringing up a child would later be revisited in 1996 drama Khamos-hi: The Musical.
4. Shankar (Shor): Manoj Kumar produced, directed, wrote and played the lead role in the emotional 1972 drama. He plays a devoted father bringing up his young son, who is unable to speak, alone after his wife passes away. The father will do whatever it takes to raise the money for an operation that will enable his little boy to find his voice again, even if it means putting his own life in danger. The story of a father’s unconditional and undying love was a massive success.
5. Karan (Maine Pyar Kiya): The hit 1989 romance would not only influence many films that followed, but also mapped out a career path for Alok Nath to repeatedly play a doting dad figure throughout his career. He plays Karan, who loves his daughter dearly and won’t have a bad word said against her. When a rich suitor lands up on his doorstep, he challenges him to make an honest living and prove he is worthy of his precious daughter.
6. Professor Siddharth Chaudhary (Hum Aapke Hain Kaun): During the 1990s, Anupam Kher played a series of adorable dads in a string of successful films, which included this record-breaking 1994 family drama. He plays the father of two daughters who believes in togetherness and enjoying the special moments within a family dynamic. Kher’s cheery disposition becomes infectious and later spills over to all those around him.
7. Dharamvir Malhotra (Dilwale Dulhania Le Jayenge): Although the father most remembered from the record-breaking 1995 romantic drama is Baldev Singh Chaudhary, the one everyone fell in love with was Dharamvir Malhotra. Anupam Kher brilliantly played the fun-loving father who has worked hard all his life for his son (Shah Rukh Khan) and only wants the best for him. He doesn’t care that his boy has failed his studies and encourages him to pursue his hearts desires, including going after the woman he loves. After seeing this film, everyone wished their dad was like Dharamvir.
8. Rohit Kumar (Akele Hum Akele Tum): The 1995 musical drama inspired by Hollywood film Kramer vs. Kramer revolves around a single father (Aamir Khan) forced to bring up a young son after his wife leaves him. He faces hardships but manages to create a loving home for his little boy, and then has to step up when his rich wife attempts to take custody of the child. In the title track, the father expresses his love for his son and the child reciprocates by saying: “Oh, I love you daddy”.
9. Jaiprakash Paswan (Chachi 420): The 1997 Indian remake of Hollywood hit Mrs Doubtfire revolves around a devoted father who will do all he can to spend time with his child after a divorce grants custody to the mother. The hilarious comedy saw Kamal Haasan play the father who has to disguise himself as a female nanny just to be close to his beloved daughter and look after her. His hard work pays off and he is finally able to reunite his family by the end.
10. Rahul Khanna (Kuch Kuch Hota Hai): Although the smash hit 1998 Bollywood film was a musical romance, the heartbeat of the story was a father and daughter. After he loses his wife, Rahul Khanna (Shah Rukh Khan) doesn’t let heartbreak get in the way of him becoming a devoted father doing his best to bring up his daughter. He tries his best to give his daughter so much happiness that she doesn’t feel the void of a mother not being there. The young child then goes on a mission to reunite her lonely father with a long lost love, who was his best friend during college.
11. Gulshan Bakshi (Kya Kehna): The 2000 drama tackled the taboo subject of a young single girl who gets pregnant and is abandoned by the guy. In most Bollywood films that would result in the daughter getting completely cut off from her family. Although Gulshan Bakshi (Anupam Kher) reluctantly shuns her, he eventually steps up and becomes a support system for his daughter, helping her through the pregnancy. It taught dads to be more understanding towards their children.
12. Indraneel Mohan Thakur (Main Aisa Hi Hoon): The 2005 Indian remake of American drama I Am Sam revolves around a mentally challenged man (Ajay Devgn) who is bringing up his daughter alone. Despite his own limitations, he shares a special bond with his little girl. That fatherly love inspires heartfelt devotion in the child. When the child’s grandfather appears one day to take custody of her, Indraneel does all he can to fight for custody including teaming up with a lawyer.
13. Balraj Kapoor (Baabul): For many, a father-in-law is just like a devoted dad and that is why this kind-hearted character played by Amitabh Bachchan from the 2006 film makes the list. When his daughter in law (Rani Mukerji) is left a widowed single mother, Balraj goes against societal norms and encourages her to get married again. He fights against family pressure to bring happiness back into his daughter-in-law’s life and gets her married again. In a beautiful moment at the end, she makes a wish that everyone gets a father like Balraj.
14. Rustam Behram Deboo (Ferrari Ki Sawaari): A great movie that perhaps doesn’t get the credit it deserves is this 2012 uplifting story of a father (Sharman Joshi) who will do whatever it takes to fulfil his son’s dream of becoming a cricketer, including his first act of dishonesty. What follows is a simple man way over his head being spurred on by the thought of helping his little boy, and in the process the film explores the bond he has with his own father.
15. Mahavir Singh Phogat (Dangal): Released in 2016, the highest grossing Bollywood film in history is based on true-life events and revolves around a father coaching his daughters. Although the father is a strict disciplinarian, he is also someone who very much believes in female empowerment and pushes his daughters towards greatness. Aamir Khan brilliantly played the lead role and showed just what children can achieve with a loyal, supportive dad.
16. Raj Batra (Hindi Medium): The biggest sleeper movie of 2017 was the smash hit family drama about a couple who will do whatever it takes to get their child the right education. Irrfan Khan plays a rich businessman father who is willing to fake a poverty-stricken life just so that his young daughter can gain admission to a great school. Although he does a lot of double-dealing, Raj Batra ultimately goes through with it because he and his wife want the best for their little girl.
17. Dattatraya Vakhari (102 Not Out): The oldest in the list of memorable fathers in Bollywood is a 102-year-old in the 2018 film adaptation of the hit Gujarati stage play of the same name. Amitabh Bachchan plays the fun-loving senior citizen who tries to teach his miserable 75-year-old son to introduce some positivity into his life. Although their relationship is dysfunctional, the dad ultimately wants what is best for his son.
Harvard University has agreed to transfer a collection of historic daguerreotypes believed to be among the earliest photographs of enslaved people in the United States to the International African American Museum in South Carolina. The move follows a protracted legal dispute with Tamara Lanier, a Connecticut author who claims to be a descendant of two of the individuals pictured.
The images, taken in 1850, depict several enslaved individuals, including a man named Renty and his daughter Delia, who were forced to pose for the photographs by Swiss-born Harvard professor and zoologist Louis Agassiz. Agassiz commissioned the daguerreotypes as part of his now-discredited research to support polygenism — the belief that different races evolved separately and unequally.
The 15 photographs, stored for decades at Harvard’s Peabody Museum of Archaeology and Ethnology, include individuals identified as Alfred, Delia, Drana, Fassena, Jack, Jem, and Renty. The images were rediscovered in 1976 and have since become central to wider discussions about American universities’ historical ties to slavery.
Ms Lanier, who filed a lawsuit against Harvard in 2019, argued that the photos were taken without consent and accused the university of profiting from them through licensing fees. Although her legal claim to ownership was dismissed in 2022 by the Massachusetts Supreme Judicial Court, she was permitted to pursue damages for emotional distress. The court also found that Harvard bore “complicity” in the “horrific actions” linked to the creation of the images.
Harvard has not confirmed whether Ms Lanier is related to the individuals in the daguerreotypes. However, the university said it had “long been eager” to transfer the images to another public institution to place them in a more appropriate context. “Harvard has long been eager to place the Zealy Daguerreotypes with another museum or other public institution to put them in the appropriate context and increase access to them for all Americans,” a university spokesperson said. They acknowledged that Ms Lanier’s claim to ownership had created “a complex situation.”
The settlement now ensures that all of the images, not just those of Renty and Delia, will be transferred to the International African American Museum in Charleston, South Carolina — the region where the individuals depicted were once enslaved. Ms Lanier described the outcome as a “homecoming” and said she was “ecstatic” with the result.
“I have always known, first of all, that I could never care for the daguerreotypes at the level they would require,” she told the BBC. “There are so many ties that bind Renty and Delia and the other enslaved people to that particular part of South Carolina that to repatriate them there would be like a homecoming ceremony.”
Although the museum did not play a role in the legal proceedings, it has supported Ms Lanier’s genealogical research. Tonya Matthews, president of the museum, said the institution would display the images with “truth and empathy.”
“These are not gentle images and the story behind how they came to be is even more difficult to hear,” Ms Matthews said. “So to be in a space that has already created room for conversations about the inhumanity of slavery and enslavement and how far those implications echo even to today is what we do and it’s our mission.”
The transfer comes amid broader efforts across the United States to confront the legacy of slavery within academic institutions. In 2016, Harvard Law School retired a crest linked to an 18th-century slaveholder following student protests and a review of its historical ties.
While Harvard has not disclosed the full terms of the settlement, the decision to relinquish the images is seen as a significant development in the ongoing dialogue about historical accountability, reparative justice, and institutional responsibility.
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A deep love for writing from a young age meant it was almost inevitable that AA Chaudhuri would one day return to her first passion.
After excelling as a junior tennis player and forging a successful career in law, she reconnected with the magical worlds of storytelling by writing her own books. That creative drive has since taken her on a successful journey as a crime thriller author, with critically acclaimed novels packed with twists and turns.
With a Kolkata-born father, she is proud of her Indian heritage and includes it in her books wherever possible. She will follow up titles such as The Scribe, She’s Mine, The Loyal Friend and The Final Party with The School Gates, which will be published next Thursday (5). It centres on the mysterious murder of a single mother hiding dark secrets. As with her earlier work, nothing is quite as it seems in this twist-filled tale.
Eastern Eye caught up with the acclaimed British author to discuss her writing journey, her recent novel Under Her Roof, upcoming book The School Gates, sources of inspiration, and advice for aspiring writers.
Her book ' Under Her Root'Facebook/ AA Chaudhuri
What led you towards the crime genre?
I fell in love with the crime genre when I picked up my first John Grisham novel in my mid-teens. I love the intrigue, suspense, twists and turns that keep the reader guessing and turning the pages. It is a genre that challenges both reader and writer – one that reflects society at a given time, and human nature at its darkest. As fallible beings, we are all susceptible to that darker side, and I think this relatability is what makes it such a compelling genre.
How would you describe your journey as a writer so far?
Tough and rewarding. I started writing in 2010, but it took me five years to get my agent, Annette Crossland, and another three to land my first publisher. That was despite writing a book a year for eight years, refining them until I knew them by heart, and almost giving up hope they would ever see the light of day. I faced a lot of rejection, came close to offers from big publishers, and shed more than a few tears. But I kept going, always hopeful that I would get my break.
Tell us more about that inspiring journey.
My story is no different to thousands of others. Writing is a tough, competitive and highly subjective business. You need a thick skin to cope with rejection. When my Kramer and Carver legal thrillers were finally published in 2019, nine years after I started writing, it was a great feeling to know my work was out there.
Then in February 2021, I signed a deal for two psychological thrillers with Hera Books. The first of those – She’s Mine – was something of a breakthrough, even though it took three years to get picked up.
Her book 'The School Gates'Facebook/ AA Chaudhuri
Now you are firmly established.
Having struggled for so long, it feels surreal that my seventh book will be published in June, and that I have appeared at several major crime fiction festivals in the last couple of years, including on the main stage at Harrogate. That was something I could only dream of when I started.
Your last book, Under Her Roof, received great reviews. What inspired it?
One of the things that makes psychological thrillers so compelling is their focus on ordinary people in familiar situations that suddenly take a dark turn. The landlord-tenant dynamic is a classic example, but one that has not been explored much. It struck me as a relationship that could become particularly sinister, as each party often knows very little about the other’s background or intentions.
Tell us more about that.
I wanted to combine that with the idea of Big Brother watching us – the way we expose our lives on social media, often to complete strangers. That makes us vulnerable and potentially the target of stalkers, which terrifies me, and I’m sure many others.
I thought it would be intriguing to explore that theme through a landlord-tenant relationship, with all the claustrophobia, helplessness and fear that can come with it.
Tell us about your forthcoming book, The School Gates.
The School Gates centres on the murder of single mother Lola Martinez, whose body is found on a riverbank the morning after a school Christmas social.
Suspicion falls on her group of mum friends, but it soon becomes clear someone from Lola’s past may also have had motive. Meanwhile, a friend she confides in online may hold the key. The story unfolds through the eyes of the investigating officer and Lola herself, via flashbacks that trace events from when her son first joined the school up to her death.
Like all my books, it is dark and twisty, with plenty of shocks – including a big final twist.
Who do you hope will connect with this book?
Anyone familiar with the school gates setting – the cliques, gossip, pushy characters and rivalries between parents – will definitely relate.
What is your favourite part of the book?
I love the gossip and intrigue between the parents. And the concluding chapters – where everything comes together – are my favourite, especially the final twist.
How do you feel ahead of a book release?
Excited and nervous.
What inspires you as a writer?
Society and human nature, especially the circumstances that can drive people to do terrible things. Things are rarely black and white. What kind of books do you enjoy reading, and do you have a favourite? I enjoy dark psychological thrillers. Gone Girl is a favourite – it starts with such an ordinary premise (a marriage gone wrong), but takes it to such deliciously dark extremes.
What makes for a great crime novel, in your view?
A gripping plot, strong characterisation and punchy prose are essential. The reader should be kept guessing with enough twists, turns and red herrings.
What advice would you give to aspiring writers?
Write because it makes you happy. Rejection is inevitable, so you have to love the process and believe in yourself. Focus on your craft and write what feels natural – readers will see through anything too contrived. Read widely; you can learn so much from other writers. Be active on social media – it helps build connections in the writing community and gets your name out there.
Why do you love being a writer?
I love letting my imagination run wild and getting lost in the worlds and characters I create. Writing is cathartic – an escape from everyday stress – and there is no better feeling than entertaining readers and transporting them somewhere else.
Finally, why should readers pick up your new novel?
Because it is full of suspense, characters who you will love to hate, and twists that will blindside you.
The School Gates, in paperback, will be published next Thursday (5)
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The image shows a stencilled lighthouse on a plain beige wall
A new artwork by Banksy has been unveiled on the artist’s official Instagram account, but the exact location of the piece remains undisclosed.
The image shows a stencilled lighthouse on a plain beige wall, accompanied by the phrase: “I want to be what you saw in me.” The piece features a cleverly drawn false shadow from a nearby bollard, creating the visual effect that the lighthouse is formed by the silhouette of the street furniture.
Despite the post, Banksy has not provided any indication of where the artwork is located. A second photograph shared on Instagram shows two people walking dogs near the piece, though it does not offer significant clues about the setting.
Speculation online has suggested that the street could be somewhere in Marseille, France, but this has not been confirmed. Another version of the image circulating online shows a blurred figure on a scooter passing the wall, which also features a tag that reads "Yaze". The same name is used by Canadian graffiti artist Marco The Polo, who has referred to Banksy as a source of inspiration.
Banksy, who has maintained anonymity throughout his career, typically confirms the authenticity of his work via his verified Instagram account. Many of his previous artworks have tackled political and social themes, including immigration, conflict, and homelessness.
In December 2024, Banksy posted another piece showing a Madonna and child, incorporating a wall fixture that resembled a bullet wound in the figure’s chest. Last summer, he also released a series featuring animals across different locations in London, though their meaning was not explicitly stated.
The new lighthouse piece has sparked widespread interest, but until its physical location is confirmed, it remains one of Banksy’s more mysterious contributions.
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Sundaram Tagore with Sebastião Salgado in Venice (2015)
When film director Danny Boyle saw Sebastião Salgado’s photograph of Churchgate Station in Bombay (now Mumbai), he knew this was where he would end Slumdog Millionaire with the rousing Jai Ho dance sequence, writes Amit Roy.
This was revealed to Eastern Eye by Sundaram Tagore, who owns art galleries in New York and Singapore and is about to open one in London (he is moving from the previous smaller venue in Cromwell Place).
Tagore, who has flown in from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTA) on Friday (23), last week participated in a photography exhibition called Photo London at Somerset House.
Now in its 10th year, “the UK’s leading photography fair” said that Photo London 2025 was “dedicated to the past, present, and future of photography”.
Salgado’s iconic 1995 photograph of Churchgate Station in Bombaygetty images
Tagore had a booth where he showcased work by several celebrated photographers, including three – Salgado, Steve McCurry and Karen Knorr – all of whom have drawn inspiration from India.
The work of the Brazilian-born Salgado has been described by Andrei Netto of The Guardian as an “instantly recognisable combination of black-and-white composition and dramatic lighting”.
“He’s a world-renowned photographer who has a deep relationship with India,” said Tagore, standing in front of Salgado’s famous photograph of Churchgate railway station in Mumbai (previously Bombay).
The photograph was taken by Salgado in 1995 (when Bombay was renamed Mumbai) as part of a decade-long series on the subject of “migration”, said Tagore, who explained the circumstances in which the picture was taken.
“When he got to the station, he knew he wanted a vantage point higher up,” said Tagore. “Then he was told he’d need to go to an office to get clearance (because everything in India is bureaucratic). He was looking around, thinking ‘Where can I take a photograph of Churchgate?’ Just then he saw this scene and, without waiting for official clearance, just snapped the picture. And in the migration context, if you look carefully at the picture, only two people are static. There is this man who appears to be looking across the crowd to a woman sitting down.”
MF Husain in his Bombay studio (1993); Karen Knorr with her works shown at Photo Londongetty images
Tagore said Boyle happened to come across the picture when he was shooting Slumdog Millionaire in 2007, with Dev Patel and Freida Pinto in the lead roles. Boyle is reported to have said, “This is where I will end the film.”
Tagore added, “This is where the Jai Ho dance scene takes place. That was the inspiration. It was all a bit accidental.”
In his booth, Tagore had also included photographs by McCurry, who is just as famous for his images captured in India.
He caught a boy running down a lane in Jodhpur in 2007. On a taxi journey between Jodhpur and Jaisalmer in 1983, he captured a group of women caught in a sudden sandstorm. He photographed the painter MF Husain in his Bombay studio in 1993. And, in China, in 2004 he took a photograph of Shaolin monks in training in the city of Zhengzhou.
The Opium Smoker, Chitrasala, Bundi (2017) by Knorr and Steve McCurry’s photograph of women caught in a sand storm in Rajasthan in 1983getty images
Present alongside Tagore was photographer Karen Knorr, who talked to Eastern Eye about her striking images – she takes pictures of lions, tigers, peacocks, horses, deer, elephants, cheetahs and swans, for example, and inserts them into photographs taken separately of ornate rooms in palaces and forts in Rajasthan.
She is a German-born American photographer, “the product of a photojournalist mum and a father, who was an editor of a Stars and Stripes American paper in Frankfurt am Main, where I was born”.
She grew up in Puerto Rico and now lives in London.
Her website says that her “photography explores cultural heritage and its ideological underpinnings. Questions concerning post-colonialism and its relationship to aesthetics have permeated her photographic work since the 1980s. Her acclaimed work, India Song, researched the stories and myths of India, photographing animals and placing them in temples and palaces across heritage sites in India. In 2024 Sundaram Tagore Gallery held a solo exhibition of her work, Karen Knorr: Intersections.”
Works shown at Photo London included The Opium Smoker, Chitrasala, taken in Bundi in 2017.
Standing in front of two of her photographs – one called The Transgressor, taken at Takhat Vilas in Jodhpur in 2022, and another titled A Moment of Solitude at Amer Fort in 2021 – she spoke about how India had changed her life.
A British photographer called Anna Fox introduced Knorr to Abhishek Poddar, head of the Museum of Art in Bangalore (now Bengaluru).
She remembered: “He picked up the phone and said, ‘Why don’t you come to India?’ And I said, ‘Why not?’”
getty images
There have been numerous trips to India since her first visit – a “very long road trip across Rajasthan”.
“I immersed myself in India. I would revisit places I had visited before. I am very interested in how time changes a building. I just sort of fell in love with the country. Its hybridity is what really interested me, this idea that architecture could be there for diversity, reconciliation, different cultures coming together. I read most of William Dalrymple’s books and his very critical and alternative history of India that didn’t glorify the British empire. Some of the spaces are older than British rule. What interested me were the Muslim inflections in the buildings. I read the Mahabharat and the Ramayan, everything from (American Indologist) Wendy Doniger to Dalrymple.”
As for the animals inserted into her pictures, she said: “I found the animals were as important as the cultural heritage. I use them as transgressors and disrupters. They are not supposed to be there. I didn’t photograph the animals in situ. That would never work. The animals would move. So, I became a wildlife photographer. Often, I wouldn’t know which animal goes where. I would work on that in London. The animal chosen has to work within the space. It’s about designing an effective image.”
A new play based on Asian author Sathnam Sanghera’s novel traces generations and communities, offering insight into British society, its director has said.
Published in 2013, Marriage Material delves into the experiences of an immigrant family in the UK, as a young man navigates the tensions between his dual British and Punjabi identities, his family’s past, and the life he has built for himself.
Marriage Material has been adapted for the stage under the same name by Gurpreet Kaur Bhatti and is directed by Iqbal Khan.
The play follows the journey of a Sikh family across generations. It begins in the late 1960s in Wolverhampton, where they run a corner shop, and continues through to the present day.
Gurpreet Kaur BhattiHelen Murray
In an interview with Eastern Eye, Khan said, “The play tracks and parallels my life in many ways, because I was born in Birmingham to Punjabi Pakistani parents, and so many of the themes are resonant with what I’ve lived. So, it’s a very significant story.”
He added, “Gurpreet has made changes (from the original version) and it has a slightly different end. Interestingly, there are no stereotypical elements.
“One of the most compelling aspects of Gurpreet’s writing was where the story begins. “Typically, such plays start with the patriarch and matriarch figures from the older generation, often portrayed as duty-bound and lacking passion. But that’s not the case here. We begin with a relatively young couple in their early to mid-30s, deeply in love – and unafraid to show it.
“The play then explores how the pressures of living in British society gradually erode their physical health and what their children inherit from them, both emotionally and culturally.”
Actresses Kiran Landa and Anoushka Deshmukh in a poster of Marriage MaterialHelen Murray
Khan, who is in his early fifties, and is the associate director of Birmingham Rep, said the play speaks direct to Sikh and Punjabi communities, especially those in the Midlands and London.
He said, “Like any great piece of theatre, this story, however, goes beyond one community. It’s about a family, about Britain, and about the journey of identity in today’s world.”
But, he added, “This isn’t just a story about British Asians – it features a range of characters and reflects the wider story of who we are as a country today, shaped by our past. Anyone interested in that journey, or who comes from an extended family or immigrant background, which includes most of us, will find something familiar in it. It’s a warm and funny play, using humour to bring people together and celebrate our differences. It builds bridges across generations and cultures, and I truly believe it will resonate with everyone, no matter their background. It’s a story for all.”
Describing the “inner strength” of the novel, Khan said, “Great writers often use the family and the domestic sphere as a metaphor for the world. This is also very much present in Sanghera’s original novel. By focusing on the family, you create an image of the world and of society. So, it’s not just about a Sikh Punjabi family in Wolverhampton; it’s also an image of how society has developed over time. The more specific we are, the more resonant the story becomes with universal truths – about the world, society, and what makes Britain what it is today.”
Khan explained how in the play’s second half, set in the present day, the youngest son faces questions about who he really is – how he balances his Asian heritage with his British life. He’s also in a relationship with a white British woman, which brings up issues that are still very relevant.
“I hope anyone who enjoys smart comedy, moving drama, and quality theatre will come. It’s a rich, heartfelt story that can connect with people from all walks of life,” the director said.
Khan has been working in the industry for more than three decades. He said the production team used movements and music to show transitions among different time periods in the play.
“Honouring the complexity of that narrative is a significant challenge. Another is the structure – the first half jumps forward in time, sometimes five or 10 years at a stretch. Staging those shifts while maintaining narrative clarity is demanding. We’re not relying solely on realism either; we’re also working to preserve the poetic and lyrical qualities of the piece,” he said.
“I hope it’s a beautiful, playful set, with a poetic element. The great thing about theatre is that it’s inherently non-naturalistic. If you want naturalism or realism, you go to TV or cinema. Theatre is a poetic form; it allows you to suggest truths and transition between moments. The design conveys more than just the setting or period. Without giving too much away, the play does shift across time.”
Khan said it’s an “exciting time” for people from Asian and minority communities to be in the arts.
“When I started in the industry, there were a few leading figures like Jatinder Verma (theatre director and activist), but opportunities were limited, especially in the mainstream. The types of stories being told were quite narrow. That has changed a lot. Today, the arts are far more open and eager for a wider range of stories, not just those focused on trauma, but joyful and celebratory ones too. The next big step is encouraging people from all backgrounds to tell any story they feel passionate about, not just ones linked to their heritage,” he said.
“If you’re creative with a strong voice, don’t feel restricted. Tell the stories you want to tell. Don’t limit your ambitions or dreams. Be bold, and don’t be afraid to bring activism into your work. In the past, work from marginalised communities was seen as financially risky, but that view is shifting – and will continue to change faster if the next generation stands firm and refuses to compromise.
“We now have inspiring leaders like Indhu Rubasingham and Natasha Kathi-Chandra, who are genuinely excited about bold, honest, and sometimes challenging stories that reflect the world we live in. So yes, it’s a very exciting time to be in the arts.”
Marriage Material will run at Lyric Hammersmith Theatre until June 21, and at Birmingham Rep from June 25 to July 5.