Tamasha Theatre Company has been awarded funding from the Paul Hamlyn Foundation to support a new three-year programme that recalibrates the approach to supporting new writing, in partnership with venues nationwide, alongside enhancing regional commissioning and community development.
This initiative will reframe the conversations within organisations and how they connect and embed into the communities they serve. The goal would be to share the stories and lived experiences of our communities with producing houses and non-traditional spaces.
Speaking to Asian Voice, Tamasha’s Artistic Director, Pooja Ghai explains this new initiative and about her play “Great Expectations”.
Can you share some insights into the adaptation process of “Great Expectations” and the reimagining of this classic novel in an Indian context?
Tanika Gupta adapted this classic in 2011, setting the action in Calcutta. I had been involved in this production as an actor and was familiar with the adaptation and how well it transposed itself to India at the time of the British Raj. When the Royal Exchange in Manchester invited us back, it gave Tanika the opportunity to update and focus the adaptation. The play spans a period of history from 1899-1911 during the time of the Bengal Partition the motive of which, was ‘Divide and Rule’ - headed up by Lord Curzon. Miss Havisham represents colonial Britain, as it heads to its descent. Havisham refused to let go of the pain and humiliation of being left at the alter so cruelly; her treatment of Estella and Pipli are all a metaphor for the British rule in India.
Dickens' novel deals with themes of social class, ambition, and identity. How do these themes resonate differently in the Indian context of your production?
In this adaptation, Tanika skilfully embraces the more challenging perspectives - the impact of imperial power over generations for both cultures. Dickens' story lends itself this exploration and Tanika's adaptation invites us into a period of history many know little or nothing about; it explores themes of nationalism, colourism, colonialism, race, power and class. More stories like these need to be on our national stages.
How does the journey of the protagonist, Pipli, resonate with the audience in your version?
We follow the journey of Pipli, as he journeys from his hometown of Rajshahi to the streets of Calcutta. It is his coming-of-age story as he journeys in pursuit of a better future. Pipli’s story examines class injustices, whilst commenting on colonialism, Indian independence and partition. As this young boy seeks to better himself through the ways of an English gentleman, audiences will resonate with his struggle of identity and belonging, the shame of the low-caste Indian boy versus the ways of an English Gentleman. However as Pipli gains his fortune and lives with an English gentleman, he learns how even though he has climbed the social ranks, he will never be truly accepted, the colour of his skin, his culture, his class working against him as he tries to find his way in the world.
What message or emotions do you hope the audience will leave the theatre with after experiencing this version of "Great Expectations"?
I hope the play makes people think about the power our collective voice has, and how Britain and India share a long and complex history. There's so much more that connects us than divides us, and this is a story that celebrates both resilience, friendship and love when so much of the world feels like it is against you.
This fresh new adaptation is witty and brave, bringing to life well-loved characters through a different lens. The brilliant cast of actors celebrates the diversity of the UK, our history, allyship, friendship and love.
Can you provide an overview of Tamasha's National Programme to Diversify Dramaturgy and its primary objectives?
Tamasha’s vision is to re-imagine British theatre with stories that represent and celebrate the world in which we live. We are a dedicated home for both emerging and established Global Majority (ethnically diverse) artists. A powerhouse of new writing, talent development and digital innovation, we platform and invest in stories that celebrate and foster voices from our rich and diverse communities. Tamasha is a place where artists from the Global Majority can explore the prism of their lived experiences whilst embracing the pride of their cultural heritages. Proudly both artist and audience driven, we are inspiring and connecting through bold and imaginative storytelling, providing a place to explore our lived experiences and unique perspectives.
What motivated Tamasha to initiate this program? Were there specific gaps or challenges in the theatre industry that inspired the need for diversification of dramaturgy?
For too long in our sector, success has been measured through a Eurocentric lens. Our values of excellence are based on European models of playwrighting and making theatre. In a country that is so multicultural, it feels like we have a long way to go. Speaking to artists from the Global Majority, I was hearing discontent about how they could express themselves as artists. They wanted the space to explore their voice, and global forms of theatre-making, but felt that they were constantly asked to reshape their thinking or pressured into writing a story that fitted into a western idea of what a good play is. In 2021, an open letter was written by 117 global majority writers who talked of the dominance of Eurocentric dramaturgy in the sector, airing these concerns. At Tamasha we are setting up this programme to address them. We need to widen the pool of our dramaturgs working with Global Majority writers, and have practitioners who have the lived experience to explore global forms of storytelling.
In what ways does the program support emerging and underrepresented playwrights? Are there specific resources or mentorship opportunities provided?
We are having conversations to ensure that we provide the most accessible and sustainable pathways for our artists. We will work with producing venues to deliver artist development initiatives responding to the specific needs of their local artists and communities. Workshops, training programmes, artist mentorship, micro commissions, showcase events and roundtables will all be part of the exploration of the programme.
Diversifying dramaturgy is not just about representation but also about addressing systemic issues. How does the program work to create a more inclusive and equitable theatre ecosystem?
The aim of this programme is to diversify dramaturgy and ensure that this diversification is embedded in organisations and their programming and producing. When writers put aside the forms of storytelling which they want to explore in order to get commissioned and produced, we are dealing with a form of self-censorship. Hopefully this programme will give our theatre makers the tools to embrace and open up global forms of storytelling. At a time of seismic challenges across the sector, this initiative aims to redress systemic injustices in access to development and producing opportunities, empowering global majority artists to play a dynamic, leading role in the recovery of our national arts ecology.
