“We saw last night a group of people from other cities come to our city to disrupt and cause harm,” said the temporary chief constable, Rob Nixon.
“We will not stand for this unrest in our city.
“There is an extensive policing operation on going, acting on information and reports of gatherings and offering community reassurance.”
— (@)
On Monday (19), a 20-year-old man was jailed for 10 months after his arrest during the disorder. Amos Noronha, of Illingworth Road in Leicester, pleaded guilty to the possession of an offensive weapon.
Nixon said, “Be reassured, we are working to keep you safe and to arrest and bring to justice those that are causing harm in our communities.”
— (@)
Keep calm
Eastern Eye has learned that the city’s Labour mayor, Sir Peter Soulsby, wrote to faith communities urging them to keep calm.
“We in Leicester have built relations which are deeply rooted and very robust,” he told Eastern Eye.
“We have to draw on that experience now to ensure that people in Leicester remain calm and focused and not allow others to use lies to disrupt our city.”
Unplanned protest by groups of young men in East Leicester on Saturday (17) evening (Photo credit: Twitter)
Claudia Webbe MP, who represents Leicester East, said, “These acts of aggression and provocation are by and large from a minority of fringe elements led and inspired by extremism and right-wing ideology which is rearing its ugly head in the UK and here in our peaceful city of Leicester.
“Their focus is to incite religious and racial hatred, and which are deliberately designed to cause fear, alarm and distress and in order to provoke a reaction.
“This kind of right-wing racism and fascism has no place in society and the communities of Leicester stand united against it.”
— (@)
Faith groups
Leicester Council of Faiths chair, Fayyaz Suleman, said, “Leicester has no place for any foreign extremist ideology that causes division.
“Our message to anyone that sows disharmony between us is clear 'we will not let you succeed.'
“We together call upon the immediate cessation of provocation and violence - both in thought and behaviour.”
— (@)
Leicester East’s former MP, Keith Vaz told Eastern Eye people are “genuinely surprised and shocked” by the disorder.
In the aftermath of the riots in the north of England in 2001, independent advisers who investigated their causes held up Leicester as the model of multicultural integration.
“It still remains the case that we’re a beacon of multiculturalism,” said Vaz.
“Whatever the trigger was that caused these disorders, nobody knows the complete picture of how they started.
“We need to engage with the communities, address these issues and remind everybody of the huge cultural tapestry that is Leicester.”
Sources in Leicester blamed India’s cricket victory over Pakistan in Dubai’s Asian Cup on August 28 as the catalyst for the violence.
But other reasons, also unconfirmed, are circulating among the communities.
The DP World Asia Cup T20 match between Pakistan and India at Dubai International Stadium on August 28, 2022 in Dubai (Photo by Francois Nel/Getty Images)
It prompted immediate condemnation from the Indian High Commission in London.
“We strongly condemn the violence perpetrated against the Indian community in Leicester and vandalisation of premises and symbols of Hindu religion,” it said in a statement.
"We have strongly taken up this matter with the UK authorities and have sought immediate action against those involved in these attacks.
“We call on the authorities to provide protection to the affected people.”
— (@)
Hindu sources in Leicester said that message was “unhelpful because the violence affects all faith communities, not just ours”.
Muslim civic and religious leaders condemned what they described as “deplorable and atrocious behaviour”.
Former president of the Leicestershire Asian Business Association, Jaffer Kapasi, told Eastern Eye, “We must maintain peace, harmony and calm, which we have cultivated for 50 years, whatever the cost.
“I’m prepared to pay from my own pocket to replace the Hindu flag which was damaged, and I think the whole Muslim community should pay together.
“It’s taken us ages to build those relationships, and we need to make sure everyone’s respected, whether they are Muslim, Hindu, Sikh or Christian.
Police officers in action in East Leicester (Photo: Twitter)
A spokesperson for Leicester’s Council of Faiths told Eastern Eye, “We are concerned about the escalation between groups of individuals with particular agendas and grievances.
“We urge people to be calm and united against any form of excitement.
“We also call for vigilance and cooperation with the police with any information on the perpetrators.
“Faith leaders are united in our resolve to overcome this tense situation.
"More needs to be done to engage with the leaders of these extreme groups to establish dialogue and come to a resolution.
“There is no place for this in Leicester and we are confident that we will overcome this.”
Analysis
by Barnie Choudhury
I have lived in Leicester for more than 26 years, and as a Hindu I have friends from all religions.
Our children have gone to school together, they have played together, and now they work together.
It is the way it has always been and stems from a shared history, shared culture and shared respect.
In fact, we never ask about our faith. We never ask about our ancestry. And we never discuss our personal politics.
That does not mean we talk merely about the weather. Like most people, we put the world to rights regularly, and when we disagree, we agree to disagree.
In the time I have lived in this city, I have never felt there were no-go areas among south Asian communities.
As a family, we get our groceries from wards with a Muslim majority. We have always felt safe.
We, along with our Muslim friends, will eat in restaurants where the majority are Hindus. We have never experienced bigotry.
This week, I have been interviewed by several media outlets, asking for my insights into the “sudden disorder” and “why the mayor and police were caught off guard”.
This is because in 2001, I witnessed the segregation of parts of England along the fault lines of race; reported on the rise of right-wing extremists; and chronicled the explosion of violence in the north of England.
The fact is that the tensions in Leicester should not have come as a surprise to anyone.
Although we have lived harmoniously side by side, it does not mean that everything is fine and dandy.
My experience from more than 50-years in this wonderful country is that anything can light the fuse which sparks incendiary violence. No-one seems to need an excuse.
I know it is easy to say this in hindsight.
But I have been talking about the influence of politics from the Indian sub-continent coming to UK streets for more than two decades.
We saw that when the Labour Party - under Jeremy Corbyn - criticised India for its administration of Kashmir at its 2019 conference.
We saw that during that year’s general election when Hindus used WhatsApp to tell colleagues that ‘if you voted for Labour, you could not a true follower of the faith’.
We saw that during the Batley and Spen by election in July 2021.
Labour sent leaflets of former prime minister, Boris Johnson, shaking hands with his Indian counterpart, Narendra Modi, with the words “Don’t risk a Tory who is not on your side”.
And we saw that in May’s local election when Harrow council in northwest London, which was Labour controlled since 2006, lost to the Conservatives.
Sources told me that it was because Hindus had campaigned along religious lines.
Yet no-one, not our political leaders, not our civic leaders, and certainly not our religious leaders, wants to acknowledge, never mind discuss the possibility, that this is a bad thing.
And things will get worse before they get better, and things will get better, I am sure.
Why? Because in 2010, the English Defence League held a march in Bradford. It was from the same play book as the British National Party, the National Front and Combat 18 of 2001.
Agitate enough and wait for it to kick off.
Only this time, community elders asked their youth not to bite.
Women put themselves in harm’s way, acting as human shields between EDL and Asian youth, to prevent a repetition of a decade earlier.
To their credit, the Asian communities showed huge tolerance and huge maturity, and the danger passed.
Like then, sources are blaming the youth of Leicester for no longer listening to their elders.
The battle between young and ageing bulls is as old as time itself, but we have a new danger we did not have before.
In 2001 social media was not as influential. Today, a myth is half-way around the world with the truth not only unable to catch up but giving up completely.
It is worse than the wild west because our thoughts, beliefs, anger, no matter on what they are based, have an outlet with the click of a button.
We do not think about the consequences.
No-one can be 100 per cent certain why things kicked off in Leicester.
Sources have told me it was a cricket match. Others say it was outsiders who do not understand the city or its relationships.
It is easy to blame the far-right Hindutva, just as it easy to blame Islamists.
The answer is probably more nuanced, with the real reasons buried, waiting to be discovered like a prospector mining for gold.
It is easy to blame, yet it is far more difficult to accept and take responsibility.
I am clear these tensions will go away. I am confident wiser heads will prevail.
But I do not see this happening unless the different groups speak with one another continually, with soft voices, respect and tolerance.
The share sales come as Ola Electric faces slowing sales, regulatory scrutiny, and increasing competition from established two-wheeler manufacturers. (Photo: Reuters)
HYUNDAI has exited Ola Electric by selling its entire 2.47 per cent stake, while Kia has trimmed its holding by offloading 0.6 per cent, exchange data showed on Tuesday.
Hyundai sold its shares at Rs 50.70 (approximately £0.43 / $0.59) each, and Kia’s shares were sold at Rs 50.55 (approximately £0.43 / $0.59).
Kia earlier held less than 1 per cent in Ola Electric. Its current holding is not known, as exchange filings do not disclose ownership below 1 per cent.
Ola Electric shares fell 8 per cent on Tuesday. The stake sales by Hyundai and Kia were made at nearly 6 per cent below Monday’s closing price.
Hyundai and Kia had jointly invested $300 million (approximately £220.59 million / Rs 34,974 million) in Ola Electric in 2019 to work together on electric vehicle development and charging infrastructure.
The share sales come as Ola Electric faces slowing sales, regulatory scrutiny, and increasing competition from established two-wheeler manufacturers. The company’s shares have declined 46 per cent since its stock market debut in August 2024.
The Bengaluru-based company reported a wider loss in the fourth quarter and forecast a drop in revenue in the current quarter. It has been offering steep discounts in response to rising competition.
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Border Security Force (BSF) personnel patrol along the borderline fence at the India-Bangladesh border in Golakganj, Dhubri district in India's Assam state on May 26, 2025.
BANGLADESH on Wednesday said Indian authorities have pushed more than 1,270 people across the border over the past month. The group includes mostly Bangladeshis, along with Indian citizens and Rohingya refugees.
Border Guard Bangladesh (BGB) officials said, “Between May 7 and June 3, Indian authorities pushed in 1,272 individuals, including a few Indian citizens and Rohingya, through 19 bordering districts.” They added, “Only yesterday, they pushed 50 individuals.”
Relations between the two neighbours have become tense since a mass uprising led to the fall of the previous Bangladeshi government last year. India surrounds Bangladesh on three sides.
India’s government has described undocumented immigrants as “Muslim infiltrators”, accusing them of being a security threat. It has not commented on the recent cases of people being sent back across the border.
Jahidul Molla, a 21-year-old Bangladeshi, said he was among those sent back. He said he had lived in India’s Gujarat state since the age of 14. “They picked us up from home and put us on a plane,” Molla told AFP. He said that after spending two weeks in a camp, he was taken onboard a ship with more than 50 others, almost all men.
“For the next three days, they kept beating us, and we were starving,” he said, claiming that they were later dropped overboard in the Sundarbans mangrove swamps along the India-Bangladesh border. “They dropped us... the coast guard rescued us and handed us over to the police.”
AFP said it could not independently verify his account.
India shares a long and porous border with Bangladesh, which is Muslim-majority. The Rohingya, a mostly Muslim minority group, have faced persecution in Myanmar for decades, including a major military crackdown in 2017. Over a million fled to Bangladesh, while others went to India.
The BGB official said “some of the Rohingya” being pushed back were registered with the UN refugee agency in India.
Md Touhid Hossain, head of the foreign ministry in Bangladesh's caretaker government, said Dhaka was “putting all our efforts” into resolving the issue through dialogue.
Indian media have reported that since a four-day conflict with Pakistan last month, authorities have pushed back more than 2,000 alleged illegal Bangladeshi immigrants.
In February, India’s interior minister Amit Shah said, “The issue of illegal intruders is also related to national security, and it should be dealt with strictly,” adding, “they should be identified and deported.”
(With inputs from AFP)
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Sons of the late, legendary Ustad Bahauddin Khan Qawwal
At a time when the spiritual essence of Sufi music is often diluted by commercial reinvention, Najmuddin Saifuddin & Brothers Qawwali Group stand tall as torchbearers of an unbroken tradition stretching back more than 700 years.
Sons of the late, legendary Ustad Bahauddin Khan Qawwal, the five brothers continue a sacred musical lineage dating back to the 13th century and the disciples of the genre’s founding figure, Hazrat Amir Khusro.
As they bring their stirring performances to audiences across the UK, the group shares stories from their journey, memories of landmark concerts, and the profound responsibility of carrying forward a legacy rooted in devotion, discipline and divine inspiration. The brilliant brothers – Muhammad Najmuddin, Saifuddin Mehmood, Zafeeruddin Ahmed, Mughisuddin Hasan and Ehtishamuddin Husain – also reflect on their inspirations and the best advice given to them by their legendary father.
How do you reflect on your journey as a group?
We have been on a meaningful journey since childhood, dedicated to presenting traditional qawwali to the world. But this journey began long before us – our family’s connection to qawwali dates back to Hazrat Amir Khusro’s time in the 13th century. Our ancestor was part of the very first qawwali group. So, this is a spiritual journey that has continued across generations, and it lives on through our current UK tour.
What has been your most memorable moment?
We have many wonderful memories – one was performing at Millennium Park in 2013, during the Chicago World Music Festival, where nearly 12,000 people sang along with us. In 2012, on the USA Worldfest tour, we had 1,500 school students singing qawwalis with us. On that same tour, we also performed at the triennial Jewish-Christian-Muslim interfaith dialogue.
Which other moments stand out?
In 2011, we performed at the inauguration of the Islamic Block of Metropolitan Museum in the US. A special highlight was collaborating with the Moroccan group Hassan Hakmoun Ensemble to present a kalam that merged qawwali with Gnawa – a form of African devotional music. In 2002, during a tour of Iran, we performed to an audience of 8,000, who all sang Persian kalaams with us. Honestly, every time we step on stage, it feels special.
How important is live performance to you personally?
We absolutely love performing live. The audience response energises us and adds momentum to our performance. That shared connection is what motivates us to give every show our all and create something unforgettable.
How much do you enjoy touring the UK and performing here?
We always enjoy performing in the UK. After Pakistan and India, the UK has the greatest appreciation for traditional qawwali and music with classical roots. Audiences here are excellent listeners who understand and value authentic qawwali. We hope to see everyone during our current tour, which is being organised by Jay Visvadeva of Sama Arts Network.
What can audiences expect from your shows?
As always, we will give our best kalaams and strive for perfection so UK audiences can experience traditional qawwali in its purest, most powerful form – deeply rooted in ancient tradition.
How do you generate so much power on stage?
Our uniqueness lies in our collective strength – we have always performed as a group rather than relying on a frontman. While many groups have just one or two lead singers, we have five. Audiences appreciate that and are often amazed that each member plays an essential role in the performance. That is why our shows are so dynamic and full of energy.
Them performing liveNajmuddin Saifuddin Qawwal Group
Tell us about the documentary you have made.
The documentary, produced by Kamran Anwar and Professor Katherine Schofield, traces the emergence, history and evolution of qawwali. It goes right back to the disciples of Hazrat Amir Khusro, who is recognised as the first qawwal in history. We are proud to say our ancestor was part of that original group.
How important is it to carry forward a legacy that stretches back centuries?
We are descendants of the leader of the first Qawwal Bachchay group. Ours is a continuous legacy spanning 25 generations, and we will continue to carry it forward. It is both our honour and our responsibility to preserve and pass on this tradition.
What do you most admire about your father, Ustad Bahauddin Khan Qawwal?
He was a true legend of the Khusro tradition. He believed in achieving perfection in every aspect of his work, art, and performance. He taught us every element of this tradition and was generous in sharing his knowledge, not just with us but with anyone who came to him. That is why his legacy extends far beyond the family.
What was the greatest lesson he taught you in your journey?
He always said, “Remain a disciple – never believe you are a teacher.” Being a disciple means you stay open to learning, remain inspired, and keep striving for perfection. The moment you think of yourself as a master, you stop growing, and others start questioning you.
What inspires you as a group?
We are inspired by simplicity, purity and excellence in performance. Our father never stopped striving for more, even though he was revered worldwide. He remained rooted in the Khusro tradition, and that focus continues to guide us. Our audiences also inspire us – whether we are performing for a few or for thousands, the energy they give back fuels us.
Why do you think Sufi music remains timeless and beloved?
Because it originates from the soul and speaks to the spirit. It brings calm, stillness and a sense of divine connection. Sufi music carries a universal message of love, humanity, equality, humility, peace and unity – all beautifully expressed through hypnotic rhythms and heartfelt vocals.
Why should people come to your upcoming UK shows?
Because the kind of qawwali we present is rare. It is not the inauthentic, Bollywood-style version that dilutes the genre. What we offer is real qawwali – in its purest form – and something you will not hear from any other group.
Najmuddin Saifuddin Qawwal Group are touring the UK until late July. Visit sama. co.uk for dates and ticket information.
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The cast of Marriage Material in key moments from the play, including Avita Jay, Kiran Landa, Omar Malik, Irfan Shamji and Anoushka Deshmukh
The play Marriage Material at the Lyric Hammersmith Theatre is Gurpreet Kaur Bhatti’s adaptation of Sathnam Sanghera’s novel of the same name, which first came out in 2013.
She is lucky to have Iqbal Khan direct Marriage Material. The play, a co-production with the Birmingham Rep, is set in the late 1960s. Mr and Mrs Bains (played by Jaz Singh Deol and Avita Jay) run a corner shop in Wolverhampton. Their younger daughter, Surinder (Anoushka Deshmukh), is 16, her sister Kamaljit (Kiran Landa) is just a bit older.
They have a neighbour, Patwant Dhanda (Irfan Shamji), who, as we shall soon see, is not a very pleasant man. In fact, he comes across just as racist as Enoch Powell, who represented Wolverhampton South West for the Tories from 1950 to 1974.
It will be recalled this was a time when Sikhs working on the buses were told they couldn’t wear a turban. That was a hard-fought battle that had to be won.
The Bains, meanwhile, simply want to get their girls married off.
Nothing new here, I thought.
What makes the tale different is that the plot twists and turns down the generations. Mr Dhanda, who has the makings of a paedophile, makes a pitch for one of the girls when Mr Bains dies early in the play. “A life with no man in the house is no life,” he informs the newly widowed Mrs Bains.
Mr Dhanda has a wife but she has returned to India so he considers himself to be a free man.
Surinder’s English teacher from school, Miss Flanagan (Celeste Dodwell), who is also head of the fifth form, tells Mrs Bains about her daughter: “I don’t want to embarrass you, but she is bright. Ridiculously bright.”
She adds: “Mrs Bains, I think it would be a pity if Surinder didn’t stay on at school.” The initial response from Mrs Bains is not encouraging: “Too much education makes people’s brains get mixed up, they don’t sleep at night…”
But she is finally persuaded that Surinder should be allowed to stay on for a while longer before being married off.
Mr Bains was very old school. When Surinder confides she would one day like to be “a somebody”, he is amused that “my daughter wants to be a somebody”.
“Like you,” she tells her father.
Mr Bains consoles his daughter: “We will find a somebody for you to marry.”
At the point of a possible marriage, however, Surinder is sweet-talked by chocolate salesman Jim Wilson (Tommy Belshaw) into running away with him. They share a love of literature, and he calls her “Sue Bains”. But the relationship does not end well.
Once she has left, Surinder is written off as “dead” by her family. The story that is circulated is that she was only 16 when she was killed in a car crash. That’s better than to let on that she ran off with a white man.
By the time she is reconciled with her sister towards the end of the play, a great deal has changed. Kamaljit married Tanvir Banga (Omar Malik), a young man who helped out in the Bains’ corner shop. When the two sisters meet again, Tanvir has also died. But he and Kamaljit had a son, Arjan Banga (Jaz Singh Deol doubles up for this role after the death of Mr Bains). He has come home after his father’s death to help his mother who is still running the family corner shop.
Meanwhile, Mr Dhanda’s business has prospered. He now has a son, Ranjit Dhanda (the role is taken by Omar Malik after Tanvir’s death), and he is nearly as unpleasant as his father.
Arjan has an English fiancée, Claire (Celeste Dodwell). In London, Arjan worked as a creative director. But after deciding to stay in Wolverhampton to help his mother, he decides he cannot marry Claire because she is white. In other words, Asians are not free of racism, either. Happily, at the end, the couple are reconciled.
As for Surinder, she parted company with Jim Wilson after realising he was all talk, depended on her for money and had failed to earn a penny from his literary pretensions. She had prospered, though, as a hotel owner and had been transformed in time into a well-groomed businesswoman. After being tracked down by Arjan, she decides to return to her roots in Wolverhampton and help Kamaljit run the family corner shop. Perhaps 50 years had passed during the passage of the play.
Being subjected to racism turned some Asians into racists themselves. The word goreh (white person) is repeatedly spat out with venom. Maybe it is worth remembering the play’s audience isn’t exclusively Asian – white folk are watching as well. And maybe some of the toilet humour ridiculing white people, which always makes me cringe, could be cut out.
In Sanghera’s novel, there is a quote from Enoch Powell’s speech in November 1968: “The West Indian or Asian does not, by being born in England, become an Englishman. In law he becomes a United Kingdom citizen by birth; in fact, he is a west Indian or an Asian still... he will by the very nature of things have lost one country without gaining another, lost one nationality without acquiring a new one. Time is running out against us and them. With the lapse of a generation or so we shall at last have succeeded – to the benefit of nobody – in reproducing ‘in England’s green and pleasant land’ the haunting tragedy of the US.”
In Marriage Material, where the acting is marvellous (apart from Mr Dhanda’s Indian mannerisms and accent being overdone) we do travel across a couple of generations.
There is a scene when Tanvir rejects Mr Dhanda’s vision of creating a little Punjab in Wolverhampton.
Mr Dhanda wants to take over the Bains’ corner shop and is putting pressure on Tanvir to sign the papers. He says: “In this country, money is the path to freedom.”
“Sign, please,” he instructs Tanvir. “We must make sure our children learn to behave nicely, according to our rules.”
He insists: “We maintain our identity so we can be ourselves.”
Tanvir disagrees: “We can be us here. With the goreh.”
Dhanda warns him: “Then we will be inviting chaos.”
Tanvir’s comment is telling: “You sound like Enoch.”
Kamaljit, who is expecting a baby with her husband Tanvir, says: “I would like my child to grow up knowing the history of the Gurus and to read the Granth Sahib. And to love their culture.”
Tanvir tells his wife: “I would like my child to go to the finest schools, to cheer for England in the World Cup and eat Yorkshire pudding on a Sunday.”
Kamaljit sets out a dream that has perhaps come to pass with many third and fourth generation British Asians: “Maybe our child can do both.” Much, much later, in a throwback to the past, we learn of Surinder’s O-level results: “Biology A, Chemistry A, English Language A, English Literature A, French A, History B, Latin A, Mathematics A, Physics A…”
Kamaljit tells her younger sister: “Never mind about the B.”
And that is quintessentially Asian. Their acting is outstanding.
Marriage Material is at the Lyric Hammersmith Theatre until June 21, and at the Birmingham Rep from June 25-July 5
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Bridge’s endorsement of the colour corrector is supported by high customer ratings
Television personality Frankie Bridge has revealed the one beauty product she relies on to cover dark under-eye circles, particularly when dealing with fatigue caused by travel. Known for frequently sharing skincare and makeup tips with her followers, Bridge has identified the Huda Beauty #FauxFilter Colour Corrector as her must-have item for a refreshed appearance.
The former Saturdays singer and current Loose Women panellist praised the product for its effectiveness in neutralising under-eye discolouration and brightening the complexion. The colour corrector, available in a range of shades, is priced at £26 through retailers such as Beauty Bay, Sephora, and Cult Beauty. In select shades, it is currently available for a reduced price of £20.75, making it an affordable option for those seeking to enhance their makeup routine.
What makes the product stand out
The Huda Beauty #FauxFilter Colour Corrector is designed to conceal dark circles and even out the skin tone around the eyes. The product features a crease-resistant, sweat-proof and transfer-proof formula, making it suitable for long-lasting wear throughout the day. It is formulated to be lightweight and creamy, offering sheer yet effective coverage without settling into fine lines or appearing cakey.
One of the main benefits of the corrector is its ability to provide natural-looking results. It is formulated to blend easily into the skin, delivering a smooth and radiant finish. The product works well on its own or under a concealer, allowing users to layer makeup without it feeling heavy or overly made-up.
Dermatologist-tested and photo-friendly
In addition to its practical features, the colour corrector has also been tested by dermatologists and is designed to be flashback-free. This means it maintains its coverage and tone even under camera flashes, making it a useful option for social events, photography, or video appearances.
Frankie Bridge highlighted how the product suits her lifestyle, helping her maintain a fresh and bright under-eye appearance after long-haul travel or late nights. The #FauxFilter Colour Corrector is part of the wider Huda Beauty range, known for its popular and highly-rated products that combine professional-level results with ease of use.
Consumer reviews back the hype
Bridge’s endorsement of the colour corrector is supported by high customer ratings across various platforms. One Beauty Bay shopper left a five-star review stating, “The Huda Beauty Colour Corrector is super creamy and easy to blend. It covers dark circles and spots really well without feeling heavy. The colours are strong but natural, and they work great under concealer. It stays in place all day and helps the makeup look smoother and brighter.”
Another reviewer commented on its texture: “It’s creamy but not drying under-eyes – and minimal creasing!” A third added, “I loved the product, it's very smooth when you apply it and blends so beautifully with the concealer.”
Several users also noted the corrector’s compatibility with different skin tones, with one customer stating: “So good for cool undertones.”
Where to buy it
Frankie Bridge’s favourite colour corrector is available from several major beauty retailers. Beauty Bay currently lists the product for £26, with some shades reduced to £20.75. Boots also offers it for £20.80, while Sephora and Cult Beauty stock it at the standard retail price of £26.
For those looking to refresh their look or combat the signs of tiredness, the Huda Beauty #FauxFilter Colour Corrector appears to be a tried-and-tested favourite, recommended not only by beauty enthusiasts but by Bridge herself.
The cast of Marriage Material in key moments from the play, including Avita Jay, Kiran Landa, Omar Malik, Irfan Shamji and Anoushka Deshmukh
Sathnam Sanghera’s 'Marriage Material' adapted into bold new play on conformity
The play Marriage Material at the Lyric Hammersmith Theatre is Gurpreet Kaur Bhatti’s adaptation of Sathnam Sanghera’s novel of the same name, which first came out in 2013.
She is lucky to have Iqbal Khan direct Marriage Material. The play, a co-production with the Birmingham Rep, is set in the late 1960s. Mr and Mrs Bains (played by Jaz Singh Deol and Avita Jay) run a corner shop in Wolverhampton. Their younger daughter, Surinder (Anoushka Deshmukh), is 16, her sister Kamaljit (Kiran Landa) is just a bit older.
They have a neighbour, Patwant Dhanda (Irfan Shamji), who, as we shall soon see, is not a very pleasant man. In fact, he comes across just as racist as Enoch Powell, who represented Wolverhampton South West for the Tories from 1950 to 1974.
It will be recalled this was a time when Sikhs working on the buses were told they couldn’t wear a turban. That was a hard-fought battle that had to be won.
The Bains, meanwhile, simply want to get their girls married off.
Nothing new here, I thought.
What makes the tale different is that the plot twists and turns down the generations. Mr Dhanda, who has the makings of a paedophile, makes a pitch for one of the girls when Mr Bains dies early in the play. “A life with no man in the house is no life,” he informs the newly widowed Mrs Bains.
Mr Dhanda has a wife but she has returned to India so he considers himself to be a free man.
Surinder’s English teacher from school, Miss Flanagan (Celeste Dodwell), who is also head of the fifth form, tells Mrs Bains about her daughter: “I don’t want to embarrass you, but she is bright. Ridiculously bright.”
She adds: “Mrs Bains, I think it would be a pity if Surinder didn’t stay on at school.” The initial response from Mrs Bains is not encouraging: “Too much education makes people’s brains get mixed up, they don’t sleep at night…”
But she is finally persuaded that Surinder should be allowed to stay on for a while longer before being married off.
Mr Bains was very old school. When Surinder confides she would one day like to be “a somebody”, he is amused that “my daughter wants to be a somebody”.
“Like you,” she tells her father.
Mr Bains consoles his daughter: “We will find a somebody for you to marry.”
At the point of a possible marriage, however, Surinder is sweet-talked by chocolate salesman Jim Wilson (Tommy Belshaw) into running away with him. They share a love of literature, and he calls her “Sue Bains”. But the relationship does not end well.
Once she has left, Surinder is written off as “dead” by her family. The story that is circulated is that she was only 16 when she was killed in a car crash. That’s better than to let on that she ran off with a white man.
By the time she is reconciled with her sister towards the end of the play, a great deal has changed. Kamaljit married Tanvir Banga (Omar Malik), a young man who helped out in the Bains’ corner shop. When the two sisters meet again, Tanvir has also died. But he and Kamaljit had a son, Arjan Banga (Jaz Singh Deol doubles up for this role after the death of Mr Bains). He has come home after his father’s death to help his mother who is still running the family corner shop.
Meanwhile, Mr Dhanda’s business has prospered. He now has a son, Ranjit Dhanda (the role is taken by Omar Malik after Tanvir’s death), and he is nearly as unpleasant as his father.
Arjan has an English fiancée, Claire (Celeste Dodwell). In London, Arjan worked as a creative director. But after deciding to stay in Wolverhampton to help his mother, he decides he cannot marry Claire because she is white. In other words, Asians are not free of racism, either. Happily, at the end, the couple are reconciled.
As for Surinder, she parted company with Jim Wilson after realising he was all talk, depended on her for money and had failed to earn a penny from his literary pretensions. She had prospered, though, as a hotel owner and had been transformed in time into a well-groomed businesswoman. After being tracked down by Arjan, she decides to return to her roots in Wolverhampton and help Kamaljit run the family corner shop. Perhaps 50 years had passed during the passage of the play.
Being subjected to racism turned some Asians into racists themselves. The word goreh (white person) is repeatedly spat out with venom. Maybe it is worth remembering the play’s audience isn’t exclusively Asian – white folk are watching as well. And maybe some of the toilet humour ridiculing white people, which always makes me cringe, could be cut out.
In Sanghera’s novel, there is a quote from Enoch Powell’s speech in November 1968: “The West Indian or Asian does not, by being born in England, become an Englishman. In law he becomes a United Kingdom citizen by birth; in fact, he is a west Indian or an Asian still... he will by the very nature of things have lost one country without gaining another, lost one nationality without acquiring a new one. Time is running out against us and them. With the lapse of a generation or so we shall at last have succeeded – to the benefit of nobody – in reproducing ‘in England’s green and pleasant land’ the haunting tragedy of the US.”
In Marriage Material, where the acting is marvellous (apart from Mr Dhanda’s Indian mannerisms and accent being overdone) we do travel across a couple of generations.
There is a scene when Tanvir rejects Mr Dhanda’s vision of creating a little Punjab in Wolverhampton.
Mr Dhanda wants to take over the Bains’ corner shop and is putting pressure on Tanvir to sign the papers. He says: “In this country, money is the path to freedom.”
“Sign, please,” he instructs Tanvir. “We must make sure our children learn to behave nicely, according to our rules.”
He insists: “We maintain our identity so we can be ourselves.”
Tanvir disagrees: “We can be us here. With the goreh.”
Dhanda warns him: “Then we will be inviting chaos.”
Tanvir’s comment is telling: “You sound like Enoch.”
Kamaljit, who is expecting a baby with her husband Tanvir, says: “I would like my child to grow up knowing the history of the Gurus and to read the Granth Sahib. And to love their culture.”
Tanvir tells his wife: “I would like my child to go to the finest schools, to cheer for England in the World Cup and eat Yorkshire pudding on a Sunday.”
Kamaljit sets out a dream that has perhaps come to pass with many third and fourth generation British Asians: “Maybe our child can do both.” Much, much later, in a throwback to the past, we learn of Surinder’s O-level results: “Biology A, Chemistry A, English Language A, English Literature A, French A, History B, Latin A, Mathematics A, Physics A…”
Kamaljit tells her younger sister: “Never mind about the B.”
And that is quintessentially Asian. Their acting is outstanding.
Marriage Material is at the Lyric Hammersmith Theatre until June 21, and at the Birmingham Rep from June 25-July 5