Episode 7: Satinder Chohan

Transcript

Shiroma 0:06

Welcome to the next act British South Asian playwrights, a new series focusing on the voices shaping the future of British South Asian theatre. Each episode centers on a conversation with a single playwright examining their creative processes and the political, personal and artistic forces that drive and inform their work, bringing about lively, thought provoking dialogs that explore the zeitgeist in this theatre landscape. I'm Shiroma Silva. I'm a film director, a radio producer and broadcast journalist. With me is Rukhsana Ahmad.

Rukhsana 0:38

I'm a writer, playwright and translator. I'm also the founder of Kali Theater Company and Sadaa.

Shiroma 0:45

and Jaswinder Blackwell Pal.

Jaswinder 0:46

I'm a lecturer in Theatre and Performance Studies at Queen Mary University of London.

Shiroma 0:55

Today, we're joined by Satinder Chohan, a writer, journalist and filmmaker. Her first play, Zameen was written in 2008. A 2017, play Made in India, centres on a white British woman who travels to Gujarat, India looking for a surrogate after the death of her husband, and a village girl, Aditi, for whom surrogacy is the only way out of poverty, and Dr Gupta, a clinic owner who connects them. It won an Adopt a Playwright Award, an Offie Award nomination, the Eastern Eye Best Production Award, and a Kali Futures award. Her 2022 play, Lotus Beauty, premiering at the Hampstead Theatre, set in a beauty salon in Southall, West London, speaks to the disproportionate number of Asian women who die by rail suicides. She has also gained acclaim for her work in audio drama with a 2025 audio drama award for Southall Rising. Welcome to our podcast, and today joining us is Satinder Chohan. Satinder, welcome.

Satinder 2:01

Hello. Thank you for having me.

Shiroma 2:03

It's a pleasure. It's a pleasure. Let's dive straight in, shall we? Because the first question I have is about your route into theatre. Expand on that. Tell us about that.

Satinder 2:14

So my background, initially, sort of after graduating, was working in freelance journalism. I edited a couple of magazines, including a magazine called Second Generation, which was an Asian art style and culture magazine. And then I got into documentaries. I was a documentary researcher, but I'd always wanted to write creatively. I just never had the confidence to write creatively or the opportunity. And so while I was working on documentaries, I got the most amazing job. I was working on the BBC series Who Do you Think you Are. And I had to research Meera Syal's family history. And so I got sent to Punjab for a month, pre the crew arriving, and I spent a month in Punjab in my ancestral homeland, and I was researching her family history, but kind of just connecting back to mine as well at the same time, and I was reading a newspaper one day, and I read about a spate of farmer suicides that had been happening in Punjab and all over India. And I read a little bit more about the story, did a little bit more research, and read about the sort of environmental and ecological destruction that was happening in Punjab as a consequence of corporate and chemical farming. And it touched me very deeply. I went back to my mother's Village, my father's village, and it sort of, you know, it was, sort of the effects were seeping in there. And when I came back to England, I couldn't shake it. I just couldn't shake it. And I just felt really compelled to tell that particular story. And I don't really have a theatre background, and I have no idea why, but I decided that I wanted to write it as a script. You know, I've always wanted to be a novelist, so for me, it was quite, quite a decision to go, Okay, I'm going to write a theatre piece. I'm going to write a script about this. And I think around the same time, there was a call out for short plays by Kali Theatre, short plays for South Asian women. And I was like, perfect, you know, I'm going to write this piece. And I wrote the piece and it became a full length play for Kali, and I'm still working with them pretty much two decades later.

Shiroma 4:16

That's absolutely great. And so those are your influences outside of theatre. In a way you're now further down that line, down that road. What are your influences within theatre?

Satinder 4:28

I really enjoyed reading sort of Strindberg when I was at college. I did, I took a drama course, and I think up until then, maybe I'd been to the theatre twice, and then I went maybe a third time while I was on the drama course. So I don't really, I'm not really steeped in a theatre background, but I feel like I'm drawn to dramatists like, you know, Arthur Miller, the way that he talks about injustice in the world, and Lorca, you know his kind of raw passion and creativity in his plays. Wole Soyinka, I really love Death and the King's Horsemen. And I feel like that fusion of, like, politics, spirituality and history, that's something that's really kind of influenced my work. But then I also look to cinema, music, Sufjan Stevens, you know, there's, there's kind of like a whole host of influences outside of theatre that I think really have an impact on my work. So I don't like to confine it just to theatre.

Jaswinder 5:22

And you mentioned that that trip you took to Punjab, which really kind of inspired you to start writing your first script. Could you say a little bit more about how your own background informs your writing, and also about the place that you're from as a site, and how that kind of inspires you as well?

Satinder 5:37

I was born and I grew up in Southall, and I think it, yeah, it just massively influences my work. And I think it's the thing that really drives me to actually write. It's a very strong kind of immigrant working class community. And my grandfather first migrated there in, I think, the 1960s so we've been there 60 years plus or something, and I'm still there. I just think it's those immigrant working class values that really infuse the politics and the storytelling in my work. And I think growing up in a place like Southall, you know, I feel like I'm a Punjabi Sikh Londoner before I'm a British person. So as a Punjabi Sikh, you know, we have this concept of seva, which is service, selfless service. And I always think of writing as seva to the community that I've come from, because I think that we have a plethora of kind of stories, untold stories, stories that might be lost, might never be told. So I'm always really conscious of that when I'm telling a story. But I think the thing that I really love about theatre is that it's there is something about community and collaboration there, and that really connects to the place that I come from.

Rukhsana 6:49

Well, I think you've used the word political already quite a few times. I see you as quite a political writer myself. Think there's a through line between Zameen and all the way to the piece that you did for Kali. So do you see your work as part of a social, social, cultural movement?

Satinder 7:05

Absolutely, I think I couldn't just write stories that entertain. I feel like there has to be a political purpose to it. I think just because of who I am and where I'm from, there is always going to be a political kind of element to the work that I do and I do, I hope that people who come to see my plays, I hope that there is something in it that stirs their consciousness in some way that might kind of compel them to think about the kind of inequities in the world. Because I feel like the plays that I do are very much cries, like sort of rallying cries against neoliberalism, against capitalism, which I think are these kind of destructive like global forces. And my plays are quite big, so I think I do talk about those global issues of, you know, colonialism and immigration and the impact that neoliberalism has had on humanity and the environment and the planet as a whole. So yeah, wholly political. Yeah.

Jaswinder 8:08

On that note, we'd like to talk about a couple of your plays specifically. So starting with Made in India. So this is a play that explores surrogacy tourism within India. And so in doing so, you explore these themes of guilt and kind of desperation facing women who are kind of entering surrogacy as an industry. But you also tie that up with kind of a national imaginaries, and how this kind of industry plays into this idea of a vision for India or for an Indian identity or nation. So talk a little bit about the themes in that play, and whether you think that that play still maybe has something to say about India today.

Satinder 8:47

Yeah, I think it does. I think it has something to say about India and also about global power dynamics as well. I think that was initially one of the reasons why I wrote that play, and I felt like surrogacy was such an apt metaphor for, you know, Neo colonialism and the way that it operates. The idea that, you know, India has all these sort of, sort of service industries, sort of surrogate industries that are substitutes for Western kind of industries where the Indian workers become surrogates for Western workers, and they have Western names and, you know. But, but for us as kind of privileged Western consumers, you know, it's this idea that we depend on this low cost labor, where we are provided with these cheap, fast, efficient products, whether it's a pair of trainers or a baby, that was the main reason why I wrote the play. But at the same time, what was so fascinating was the whole sort of role of surrogacy in that country, and with Modi coming in and his kind of make Make in India program that had that sort of nationalistic drive. But what's really interesting when I started that play, I was very, very, very anti kind of surrogacy, just because of the exploitation and the oppression that is involved, and that whole sort of that sort of conflict between markets and morality, because, you know, it's that everything is for sale. And I think that's something that India, that whole kind of neoliberal push has been about this comodification of everything, including women's emotions and their bodies. I was very anti surrogacy at the beginning of the play, and I think during the course of the play, I think the surrogacy ban was introduced while I was writing the planner to rewrite, like several drafts.

Jaswinder 10:37

So interesting. Real life kind of overtook.

Satinder 10:39

Yeah it did, and it really changed it, and it became much more sort of political, and it was a total kind of infringement on women's reproductive freedoms and their reproductive rights. And it made me look at the issue very, very differently, and as much as I don't think surrogacy is the answer, because women should be provided with adequate sort of pay and health care and education and have access to all of those things at the same time, it's a reality. It's a reality that it happens in countries like Cambodia and Thailand and Nepal and India. And there's a reason why it happens in the Global South. And so I was less quick to dismiss it on those grounds.

Shiroma 11:15

It's interesting you say that, in a way, the narrative changed. Real life narrative changed as you were writing it, which is challenging and exciting for you as a writer, I'd imagine. But how much do you feel that your works are, in a way, reflecting what's happening, reflecting the times, and how much are they they leading the times and providing a vision for what's what's possible?

Satinder 11:37

You know, I love this idea of writers who come from underrepresented backgrounds. Because I feel like we write on the margins, we write on the margins, and we write from the margins, and I think in time, the ideas and the stories and the experiences we have eventually infiltrate into the mainstream. And so I think, like with Zameen, what was really interesting was I wrote that play in, I think, 2007 and then it was like around COVID, 2020, when the farmers, the massive farmers strike happened in India. But that play was so relevant, and it was funny, because I couldn't get it published in 2007 but I got it published around that time, because suddenly the farmers strike was this global event, and it became a huge issue, and suddenly the relevance of that play was just, it was, it was much stronger 1314, years later. It made sense, because the seeds of the protest were kind of the themes that I was exploring in Zameen. So I mean, I wouldn't, I wouldn't say, like I'm at the vanguard of anything, but I'm just saying that as underrepresented writers, we're sort of at the forefront of things that are percolating, happening in the background that might not manifest until years, several years later, down the line, and we just can't be swept away by, oh my god, what is going to get my play on stage in theatre?

Shiroma 12:57

And you spoke about being close to the communities. Clearly, that's important. Lotus Beauty deals with very big issues, doesn't it? It deals with suicides, depression, intergenerational attitudes, the whole gamut of what's out there in real life. So were you, for instance, hanging around in beauty parlors and earwigging about what people were talking about?

Satinder 13:22

I just want to say one thing about the big thing, yeah. So, so of course, all my plays are really big epics, and I really wish they weren't at times, because sometimes I get sort of lost in the themes and whatnot. But yes, they're absolutely rooted in the communities that I talk about. So for example, Zameen i i got actually, while I was commissioned by Kali, I got an Arts Council grant to go to Punjab on two trips, and I spoke to a lot of farmers in Punjab. I spoke to the wives of suicide farmers, the families of suicide farmers. I have, like tapes. I have this whole archive that I assembled from that time, photographs, visual stuff. I mean it, you know, it's extensive, and I feel like I that's part of my writing process that I really if I'm talking about these people, if I'm sort of, you know, in quotes, representing their experiences, that I need to steep myself in their lives as much as possible, and to know what their perspectives are, what their struggles are, what their lives are about. And yes, I there was a, in my 30s when my hair used to grow back really, really quickly. I have, I have this amazing beauty salon that I would go to. I'd been going to it for, like, a very, very long time, Neelam beauty spot in Heston. I have to, because they were brilliant, yeah. Oh my god. They're super cheap. She's, she's brilliant. She's an absolute sort of, she's just a wizard with the threading and whatnot.

Shiroma 14:52

But just for the record, other beauty salons are available.

Satinder 14:56

But yeah, so I did, and so Neelam was fine. She I was like, Neelam, can I come and sit in here? And she was like, Sure. And I worked on reception for about, I think a month. I was on reception, and I was interviewing women who were coming in and out, and I have an archive of those interviews as well. So it was, it was girls and women of all ages and and then, yeah, I think I use those in workshops trying to whittle down the themes and the stories of what was happening. But then at the same time, I also knew that I wanted it to be about, you know, the Lotus being again, metaphors, like I love metaphors in my plays, and I knew that that was going to become a part of it. But it was about, you know, beauty, being skin deep. And then what, what is kind of, what is going on, what is the darker underbelly of what is going on under the surface? So all these things were kind of swishing around and around that time there were, there were suicides on. I know all my plays seem like they're about suicide, but you know, it's, it was, it's a, it was a real thing in our community. And I think there was a statistic that in 2007 80 of 240 suicides on the GWR track between Southall and like Slough, going through the Asian communities, a third happened on that particular track in sort of London. You know, it's like, too high a figure. And so all these things, I was like, I've got to tell a story through this somehow.

Shiroma 16:25

And there, apparently is a disproportional number of Asian female suicides by rail.

Satinder 16:31

Yeah, yeah, exactly, exactly. And a lot of them were happening there. And then, actually, again, during the course of the play, a lot of immigrant men began to commit suicide on on the tracks as well. So even though I didn't incorporate that directly, it just felt like I wanted to write about those lives as well.

Rukhsana 16:52

It's interesting, though, I think I was going to ask you about metaphors and symbols, but in a way, you've answered that question about metaphors. How do you decide what is going to be this symbol that's going to be the heartbeat of the play?

Satinder 17:06

I think I always need an image to work around and through, like in terms of the drama. Maybe it sometimes holds me back, because it can become quite a static kind of image or metaphor, and you need something that's really active, and it's trying to activate that image through the, through the drama.

Jaswinder 17:23

So making sure that the metaphor doesn't kind of overpower the action, the kind of driver?

Satinder 17:27

Yeah and it's not just hanging there, like it's just not hanging there, and actually it's, it's an active force in their life. So, so, for example, Rita, who's the beauty salon, salon owner, you know, it's about image, for her, it's about, it's about looking beautiful. It's about money and materialism, and, oh yeah, because there is a Tennyson poem The Lotus Eaters. And in The Lotus Eaters, you know, which comes from, kind of the Odyssey as well, Homer's Odyssey, the men basically eat this lotus and they fall asleep, and they forget who they are and where they come from. And so that became really big for me in terms of the community. And I wanted to talk about the community. That's what being sort of ostensibly superficially beautiful becomes. It's that superficial beauty, you know? It's you forget who you are and where you're from, because it's about image and it's money and materialism. And actually, there are deeper core values in that particular community that I'm representing, and it's like, you can't forget, you know? So it was using that Lotus image to kind of reinforce all of those ideas.

Jaswinder 18:31

I really wanted to just jump in, because so rich what you're saying about the development of that play. But when you were talking about the process and the research process, I really wanted to ask, has your work as a journalist kind of informed the way that you go about gathering your information and researching the play? Do you think that it shapes you as you, as a writer?

Satinder 18:50

Definitely, definitely. And sometimes I'm like, does it impede me as a writer, because I get lost in the research. Yeah, as a documentary researcher, I think I really carried that with me into the writing. So whichever project I work on, there is always like, an extensive research process before I actually begin drafting. Like, I don't work, like, from the play inside, the play outwards. It's almost like I have to build the world first.

Jaswinder 19:15

So do you start with the issue or the topic? I mean, you find the characters that are gonna allow you to...

Satinder 19:20

Yeah, so I have, so I've got to create that world first. And the research informs that, I think is that that is how once I've created that world. So if I've created that world of the beauty salon, or I've created the world of the cotton farmer, or the world, you know, the of the surrogacy clinic, then I can start thinking about, Okay, so who are the people who are going to be in this world? And I know that a lot of writers work the other way. They begin with characters, they begin with an idea, and then they grow outwards. But for me, it's like that world has to be in place. And yes, sometimes I do think that research process could be a little shorter, but yeah, I do like losing myself in it.

Shiroma 19:56

On that same point, is it then challenging to make that transition? Because a journalist is taking a top down approach, and you have to be dispassionate, obviously in principle and, and look rather objectively at things in a slightly distant way. But then to, you know, as a writer, though you want to get into people's hearts.

Satinder 20:17

Yeah, and I think that's probably why I ended up eventually taking the creative route. And I think it was for me, it was like this circuitous route to the creative stuff, just because I didn't have enough confidence to dive into the creative writing straight away. So I think that's what journalism gave me. It just gave me that breathing space, and it gave me that capacity to kind of identify ideas, identify the areas that I really wanted to work in, to locate them, to understand what my politics were. And so I don't, I mean, you know, I could, I could write, I could do journalism now, but I do think I'm a creative writer in terms of the way that I think, and the way, you know, in terms of my process, and also in terms of speed, because I can't do the quick turnover. So I do need to, like, let things sit, and I do need to let things process.

Shiroma 21:06

Fester and work their way up?

Satinder 21:09

Absolutely.

Shiroma 21:10

Now, can I ask, in both Lotus Beauty and in Made in India, you have very strong characters, very strong personalities, strong backstories. So how do you then, as a writer, stop that becoming overwhelming, in a way, because, you know, I mean, everybody can't be right out there all the time. So how does that? How do you balance?

Satinder 21:31

I kind of treat them all as multi protagonists, in a way, because I don't really subscribe to that idea of, like, there being a single protagonist. And again, I think that's, it's that community drive. I just don't think that one is paramount to the rest. And I think it's, it's all these characters working in tandem with each other, and it does make it difficult. It does weigh down the piece, and that's something that I think I'm still trying to grapple with. But I love that multi pronged approach, because I just think that best represents those communities, and I think to take one and do the kind of hero's journey about that one, but I just don't think that's representative of the issues that I write about and the characters that I write about. I think they belong to something much bigger as well.

Rukhsana 22:19

It's very much a question of form and structure, isn't it? Can I take you back to that question of form and structure? Because I think this is very much an Eastern approach to writing. You know that multi, multi protagonist, multi point of view, that's very much about not prioritizing the individual. It's about the social, social culture. But just to carry on, to go back to the question of form and structure, how do you how do you use those? I know that you use time quite clever, cleverly in your plays.

Satinder 22:54

Yeah, and again I do, I think that form and structure thing comes into play in that I like working across time periods as well. Sometimes, sort of, yes, there are flashbacks to the past. And again, I think just because of the stories that I tell, it cannot all be rooted in the present, because it is about history. So the play that we haven't spoken about, Kabaddi, Kabaddi, Kabaddi, that for me was set over two time periods, and it was, the play was like two halves of the Kabaddi game. And the first half was set in Punjab in 1936 Punjab and Berlin, actually, because it was about the Berlin Olympics, Kabaddi being at the Berlin Olympics, which is true fact. And then in the second half it was the 2012 Olympics in London. And so it's, you know, it's very much about that relationship, whether I do it in such an overt way, where I set up the structure to be two separate time periods, or I fuse them together in the present, I think that's, that's how I have to play with time.

Jaswinder 23:53

And I think Rukhsana's kind of point about this, the social being, you know, really primary over the individual necessarily in your work is really useful for addressing that question of complexity between the characters, because I'd wanted to ask you about the kind of questions of class within your work. So I was wondering if you could talk a little bit more about those questions of class within the community, and how that informs your work.

Satinder 24:16

As I've said, just coming from a working class community, it's ever kind of conscious and present, and then, because my grandfather and my parents were sort of, you know, first migrants, sort of first immigrants to the town, and there have been waves of other immigrants from all over the world in Southall. And I think one of the things that we've seen firsthand in the community is as those initial generations have become middle class, become moneyed, become wealthier, the discrepancy and the power, the contrasting power dynamics between those previous generations and the younger generations coming through. I mean, it's pretty stark.

Jaswinder 24:53

But that gets flattened in a lot of cultural representation.

Satinder 24:56

Yeah, but it's Yeah, exactly. And I mean, for me, obviously. It's problematic, because at the end of the day, you know, we're sort of all of immigrant blood, and for those previous generations to assume positions of like superiority or exert power and influence over the younger generations in an exploitative way, that's something that I don't think is in keeping with our community values. Thinking about the days when, you know, my grandfather, he basically bought this house in Southall, and people would come from India, and he would just give them, you know, they didn't have to pay rent. They don't have to pay, you know, people just chipped in together, but he would just invite them into their homes. And it's that spirit, rather than exploiting the new generations of immigrants coming in, that I wanted to represent in Lotus, and also I wrote about it in Kabaddi as well, because it's sort of the second half is set on a construction site. And again, there is an exploitative business owner, business owners. That's not my anti capitalist diatribe, I swear. But it is, you know. And also what's interesting is around the time of Brexit. That's when it became really alarming. And so, like, unavoidable for me, because you had these older generations who were voting for Brexit because of the immigrants coming in. And you're like, what? But you, you are, you were immigrants. You know exactly what this situation is. How can you be voting that was, that was really disturbing. And so, yeah, it's, it's really that is kind of always, ever present. And I don't think Southall and other communities, not just Southall, obviously, I you know, it's applicable nationally and globally, for me, that we need to be fairer and we need to be empathetic, and we need to be supportive of people who make those choices to uproot and live better lives elsewhere.

Shiroma 26:47

And as class evolves, as people become aspirational and move up a rung or tier, or however you want to look at it, how does, how does feminism sit in that?

Satinder 26:58

Feminism sits strongly.

Shiroma 27:01

More strongly?

Satinder 27:01

No, because I think, you know, for me, I think there is that there's always going to be that interplay between race, gender and identity. One of the things that I try to do in all my plays is, as much as there are multi protagonists, I will write a female character, unless there is a strong reason to write a male one, because I want that perspective to be told so class, class becomes an issue, whether it's male or female, but for me, it's just having that primacy of putting women, making my work female centered.

Rukhsana 27:34

So every artist has scars, and so do their characters. You know, sometimes I wonder, if you think about this. Are you aware of this, sensitive to this, and how do you, how do you navigate, navigate vulnerability in your scripts?

Satinder 27:48

I think, by virtue of just being from the community that I'm from, and having seen the experiences I have, like, for example, you know, the one thing that always stays with me is, you know, my mom was one of 10 children. And as a teenager, seven of her siblings passed away for one reason or another, you know, and she was one of three surviving children. My grandmother lost like seven out of 10 kids. And that really that, it's those states of vulnerability and the fact that those women, my grandmother and my mother, endured their resilience and their strength through that their entire lives, those are the women I write about. Those are the vulnerable states, but then the resilience and strength that you also must tap into as a, as a as a consequence of going into those places.

Shiroma 28:42

And what makes theatre particularly poignant as a as a transport for the for those themes and ideas and sentiments?

Satinder 28:50

I mean, again, I think it's because of the community thing that just theatre is that communal space, and there is that interaction. I think nothing happens without collaboration. So it is about creative collaboration and then being able to bring it into this communal space with an audience. It's so important that that becomes an accessible kind of shared storytelling space for all.

Jaswinder 29:11

So I wanted to ask about that, because obviously, you know, you've talked about how important the communities that you write from and with and for are to you. So what's your what are some of your reflections on how British Asian theatre has changed since the time you started writing? Do you think, for example, that theatres are doing a better job now at reaching out to those audiences? Are those audiences featuring more in kind of a landscape of British theatre? Or are there still big challenges there?

Satinder 29:37

I think there are still huge challenges. I think, over two decades, you know, it hasn't become any easier writing a play and getting it on and getting specifically, getting these stories on. I think that that attitude prevails, that our work is seen as risky and marginal and kind of irrelevant, because it doesn't, you know, speak to the nation. Whereas, these are global issues we're talking about. These are universal issues that we are talking about. I think a lot of responsibility lies with the gatekeepers, the gatekeepers who give us access or don't give us access, and the problem is, for me personally, is that they decide, they determine what diversity is on their terms, and it's not a diversity that chimes with the diversity that I come from, and that hasn't changed. And again, I think it's a class issue. The class issue is actually probably up there with the race issue. I think it's very easy for them to treat our work like tick boxes and tokenistic so if they've put one diverse play on they've done their work is literally like that, you know, but it's also about bringing in new audiences and also challenging traditional audiences to expand their worldview and to understand more about other lives in other worlds. And I just don't think that that is happening enough.

Shiroma 31:00

That's discouraging, though, that you feel things haven't changed that much.

Satinder 31:04

Yeah, I just don't, I don't feel that there has been huge progress, because I think there could be a lot more that is done.

Rukhsana 31:11

Just to bring it to a more positive note, you're in a very different setting here. I'm at least quite a fan of your work. I've seen all your plays, and I wanted to ask if there was any moment that you'd like to talk about from one of your plays.

Satinder 31:26

I think it just, I think it just all goes back to Zameen for me, because I feel like that's where I started. And I think that really just, even though it's a really sorry, it's another tragedy, everything's mired in, like tragedy and struggle and all of those things. But, yeah, it's just because of the people that I met when I started to write that play. So for me, when the family is sitting in the fields and there is all this ecological kind of devastation around them, and the cotton farmer is sitting there with his alcoholic son and his daughter who dreams of, you know, of better things. I think it's just that moment of family and then all the challenges that they face because of the situation that they're in.

Shiroma 32:10

Satinder Chohan. Thank you so much for sharing your thoughts with us today, and we look forward to a lot more from you.

Satinder 32:17

Thank you so much for having me.

Jaswinder 32:20

That was wonderful. Thank you so much.

Shiroma 32:23

The Next Act is executive produced by Jaswinder Blackwell-Pal, Shiroma Silva and Rukhsana Ahmad. It is edited and assistant produced by Kavita Kukar and Malia Haider. Our research assistant is Carrie Luce and the technical producer is Matthew Kowalczuk. Our designer is Arjun Mahadevan. It is funded and supported by the Center for Public Engagement and the Department of drama at Queen Mary University of London. You can follow up online at www.thenextact.co.uk.

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