Opening in May 2022 in the Olivier Theatre is The Father and The Assassin, a gripping new play by Anupama Chandrasekhar, one of India’s most exciting playwrights, directed by Indhu Rubasingham.
The play traces Nathuram Godse’s life over 30 years during India’s fight for independence: from a devout follower of Mahatma Gandhi, through to his radicalisation and their tragic final encounter. Shubham Saraf is cast as Godse alongside Paul Bazely as Gandhi.
The company also includes: Sagar Arya, Ankur Bahl, Ralph Birtwell, Ayesha Dharker, Marc Elliott, Ravin J Ganatra, Dinita Gohil, Halema Hussain, Irvine Iqbal, Nadeem Islam, Tony Jayawardena, Sakuntala Ramanee, Anish Roy, Sid Sagar, Shubham Saraf, Akshay Shah, Peter Singh and Maanuv Thiara.
Set and costume design is by Rajha Shakiry, lighting design is by Oliver Fenwick and sound design is by Alex Caplen. Movement director is Lucy Cullingford, music composed by Siddhartha Khosla, music director is David Shrubsole, sound designer is Alexander Caplen, fight director is Ruth Cooper-Brown of Rc-Annie Ltd, and the dialect coach is Shereen Ibrahim. The staff Director is Gitika Buttoo.
Asian Voice spoke to Marc Elliott who essays the role of Pandit Jawaharlal Nehru in the play.
Before embarking on the journey of this play, how much did you know about Nehru?
If I’m honest I only really knew the basics of Indian history within the period and I didn’t know a great deal about Nehru as a man. It has been fascinating learning more about him and the complexities of the political landscape at the time.
At a time when India’s political economy is truly the most debated and critiqued one, what is the significance of this play for the Indian diaspora in the UK?
I think it’s brilliant that the National are staging a show that both challenges and informs a modern audience about a moment in history that was responsible for shaping India into the country it is today.
The play is cited as the story of the man who murdered Gandhi. Is the premise of the play criticism or critique?
I may be wrong but I don’t think Anu has set out to do either of these things. The play is a partly fictionalised retelling of a story that we all know. Anu’s central conceit, which is to tell that story from the viewpoint of Gandhi’s assassin (Godse), is both bold and dramatic. It is through this lens that she explores radicalisation and the dangerous belief system of the far-right, which are both incredibly pertinent topics in the world right now.
What is it like to work with a case where the majority of artists are artists of colour? What are your learnings?
It’s not the first time I’ve been in a cast where everyone is a person of colour but if I’m honest it hasn’t overtly affected the group dynamic. We are very lucky to work in an industry where everyone, irrespective of race, gender, sexuality or age is respected and heard. This amazingly talented and kind group of crazy, adorable people is no exception. It has been a pleasure, an honour and an absolute riot working with them on this project.
Gandhi and Nehru, both are beloved leaders of Indian political history. Do you realise you’re a part of an extremely historic ensemble? So many would have their eyes on you?
I’m fully aware of how venerated Nehru was (and still is) by Indians across the world and it was always going to be a challenge playing such an esteemed historical figure. My aim throughout the process has been to learn as much as I can about him as a political leader and a man and channel that into the piece that Anu has written. It has never been my intention to impersonate him but to represent him on stage with respect and integrity.
How was your experience working with Director Indhu Rubasingham and playwright Anupama Chandrasekhar?
Working with Indhu and Anu on this play for six weeks in the rehearsal room has been nothing short of amazing. Both are incredibly powerful, intelligent and kind women. Indhu as a director is so instinctive and insightful and Anu has been so open and giving with her time and creativity. It is a true labour of passion and love and that cannot help but be reflected on the stage. Getting this show to a place where we can proudly put it in front of an audience has been a lot of hard work but also an awful lot of fun and it has been an experience I’ll never forget.
