Rifco Theatre Company is taking ‘Surinderella', the UK's largest-scale British South Asian pantomime, on a nationwide tour from 16 July to 31 October 2026. Reimagining the classic fairy tale through a contemporary British South Asian lens, the production combines Bhangra beats, vibrant colour, magic, family-friendly comedy and audience participation with the much-loved traditions of pantomime.
Speaking to Asian Voice, ‘Surinderella' director Ameet Chana discussed bringing a western fairy tale to life with a South Asian twist, the production's distinctive storytelling style, and his hopes for the impact it will have on audiences across generations.
1) How did you balance staying true to the original fairy tale while giving ‘Surinderella’ a fresh South Asian twist?
The key was realising that the core narrative of Cinderella and classic Bollywood tropes are actually a match made in heaven. Both rely on high drama, an underappreciated hero or heroine, a massive societal barrier, and a grand celebratory climax. To strike the perfect balance, we kept the structural "heartbeats" of the original fairytale that the audience expects, the wicked stepsisters, or ‘Step Phenjis’ in our show (Lovely and Bubbly), the magical transformation, the ball, and the ticking clock. Once we had the story's foundations in place, we added our own South Asian flavour. The traditional fairy godmother became the glamorous Devi Godmother, and the royal ball was transformed into a Bollywood Ball featuring music by PBN. South Asian humour and cultural references make the classic story feel both authentic and fresh.
2) Many South Asians grew up with Western fairy tales without seeing themselves in them. Do you see ‘Surinderella' changing that?
Absolutely. For generations, British South Asians have grown up consuming Western fairytales where the magic, the royalty, and the "happily ever after" looked one specific way. Surinderella directly flips the script on that. By putting Surinder and Prince Kavi at the centre of this iconic story, we are telling our audiences, especially the younger ones, that our faces, our clothes, our music, and our traditions are worthy of being magical. It shifts the narrative from simply observing a classic British story to being part of it. It's about normalising our presence in these timeless tales, so children grow up knowing that people who look like them can be the heroes of the story.
3) Bollywood plays a major role in the production. How did its storytelling style influence the way you adapted Surinderella?
Bollywood storytelling is unashamedly emotional, visually spectacular, and incredibly rhythmic, which fits the world of pantomime beautifully. In Surinderella, we lean heavily into the filmi blockbuster style. When Prince Kavi and Surinder accidentally bump into each other, we don't just play a scene, sparks fly faster than a classic Bollywood dance sequence, complete with dramatic lighting and music. The emotions are bigger, the stakes feel higher, and Anna Marie Barber's choreography drives the story forward. We embrace the colourful spectacle, drama and non-stop dance to create the larger-than-life energy that Rifco audiences know and love.
4) Theatre is becoming increasingly diverse. How important is it to tell stories that reflect different cultures and communities?
It is everything. Theatre is supposed to be a mirror to society, and modern Britain is beautifully diverse. If our stages don't reflect the communities living just outside the theatre doors, then we are failing as storytellers. This is exactly why Rifco's mission is so vital and why the company exists. For too long, diverse communities felt that theatre "wasn't for them" because their lives and cultures weren't represented. Telling these stories changes the entire landscape. It brings new audiences into theatres, enriches the cultural fabric of the UK, and reminds us that our differences are things to be shared, celebrated, and laughed about together.
5) What message do you hope audiences take away from Surinderella beyond the humour, music and spectacle?
Beyond the glitter, the Bhangra beats, and the bakwas, I want the audience to walk away with a profound sense of joy and self-worth. Surinderella is a story about staying true to yourself, finding your own voice amidst the chaos of family and societal expectations, and claiming your own "happily ever after." I hope older generations see it as a joyful celebration of their culture on British stages, while younger audiences leave feeling seen, empowered and proud of their heritage. Above all, it's a celebration of family, community and embracing who we are.
