1. You have had an incredibly versatile career as a comedian, filmmaker and triathlete. Now, Menagerie marks your debut theatre hour. What do you feel about this new experience and new medium of storytelling?
“Menagerie” is my debut theatre hour, marking my first foray into the world of theatre—a field I’ve always wanted to explore but found challenging due to its complex requirements, such as sound and light design, production values, and many other moving parts. Theatre presents a higher barrier to entry, making it a more elaborate venture compared to other forms of performance.
I was inspired to write this piece because it addresses mental health and trauma, subjects that don’t easily lend themselves to comedy. While comedy can touch on serious issues, it didn’t feel right for the type of storytelling I wanted to pursue. Thus, I created a one-woman show that delves deeply into these themes.
The fringe festival seemed like the perfect stage for this venture. It’s an excellent platform for testing new ideas and exploring one’s artistic boundaries. I firmly believe that storytelling has countless possibilities, and even a basic comedy show can boast high-tech production values. It’s not about choosing one over the other; rather, it’s about understanding the rich history and possibilities of theatre.
I’m thrilled that “Menagerie” has been well-received. It’s incredibly rewarding to have audience members share that they saw reflections of their own life experiences in the performance. For me, the true measure of success is creating a story that resonates universally while remaining deeply personal.
2. The premiere of Menagerie has been highly-anticipated by fans across the globe. Can you give us an idea of what to expect from the show?
The premiere of “Menagerie” took place at the Edinburgh Fringe, where it delves into various themes including mental health, trauma, and immigration. The show reflects on how we navigate life in a fragmented world and the complexities of raising children in today’s era. It’s a double bill and the comedy hour is followed within 20 minutes of the performance.
Being an immigrant often challenges our foundational values, as we grapple with adhering to the rules instilled by our parents while adapting to our new environments. This piece explores the journey of self-discovery and the quest to find a balance—where we can honour our cultural heritage while shaping our own values to pass on to the next generation.
Nostalgia and cultural traditions are integral to our identity, and I deeply value the lessons from my grandparents and parents. However, as an adult living in a different country, it’s essential to reframe and adapt these narratives to resonate with my current reality. “Menagerie” is about finding that personal equilibrium and redefining the story to fit our present circumstances.
3. What inspired you to create Menagerie?
When something unexpected occurs, it typically involves two parties: the so-called victim and the offender. However, the reasons behind these events are often far from clear. For instance, discussions around mental health in India and globally are still lacking, and conversations about women’s health are even more inadequate. The broader systems we live within—such as politics, healthcare, and immigration—significantly influence how such events unfold.
In my case, I address an encounter with someone who was mentally ill and lacked the resources or support to manage their condition effectively. This experience underscores that no story is one-dimensional. Each narrative comprises complex, nuanced characters embodying both positive and negative traits. I believe, both as an engineer and as an artist, that there are many shades of grey rather than stark black-and-white distinctions.
This piece is deeply personal to me as it processes a significant event in my life, examining why things unfolded as they did and how we handle situations where answers are elusive. It explores the challenges of processing trauma and the broader questions surrounding mental health. These are issues that I find challenging to navigate alone. Creating this work has been a way for me to understand that problems often have multiple layers and to contextualise my own responses to life’s complexities.
4. What makes Menagerie different from other theatre shows out there?
“Menagerie” is a theatre production. The uniqueness is in its focus on the experiences of an immigrant and Indian women. This narrative is quite specific and distinct, especially in a festival like the Edinburgh Fringe, which can often lean towards certain familiar themes and genres.
This year, I’ve had the opportunity to explore a wide range of works and artists at the festival, and I am proud to contribute a unique voice that doesn’t neatly fit into any predefined category. Theatre has its traditional structures and rules, which I appreciate and respect. However, I believe that true artistry lies in making your work distinct to your own voice and lived experiences.
I find immense joy in creating a piece that is so specific to my story and seeing it resonate on a universal level. It reinforces the idea that being an artist today—and at any time—is about crafting something from a deeply personal space. When that personal expression is met with applause or recognition, it confirms that I’m not alone in my feelings or interpretations. It’s a powerful reminder of the shared human experience behind the art.
5. Has your identity affected your ideas and your performance?
My identity has profoundly influenced all of my ideas and performances. I believe that a sense of self is crucial, and it evolves over time. I’ve explored various roles throughout my life—engineer, athlete, writer, filmmaker, and now, performer in comedy and theatre. Each of these experiences has contributed to my understanding of where I want to position myself and what I am curious about.
It’s unfortunate that art is often conflated with commerce, leading to pressures to conform to certain expectations. However, I’ve been fortunate to approach the arts as a fully-formed adult, which has given me the advantage of time and perspective. My identity, shaped by my beliefs, values, and experiences, including being a mother, an immigrant, and an independent artist, is integral to my work. I see my identity as inseparable from my art—it informs everything I do. This ongoing evolution and personal insight are central to my performances and overall artistic journey.
6. You’ve garnered a lot of praise for blending your personal experiences with your comedic talents. How do you maintain a balance between the two?
Art is deeply personal, and how we choose to tell a story is a matter of packaging. As writers, we often rely on metaphor, fictionalise experiences, and take creative leaps. These tools are available to all creatives, but they don’t necessarily require us to maintain a strict balance.
Every piece of writing or art emerges from a personal space, whether it’s a lived experience or an imaginative exploration. However, in my fourth year of performing, I’ve learned the importance of focusing on mental health and finding a way to disengage from the work. One of the challenges of being creative is that you can’t remain in a state of heightened artistic intensity indefinitely. It’s crucial to return to reality and engage with the present moment.
This requires maturity and self-awareness. Unlike sports, where physical exhaustion is the primary concern, performance affects both the body and the mind. The adrenaline and endorphins after a show can leave you feeling exhilarated, but finding a way to come down from that high is essential.
I’ve found that developing mindfulness practices is crucial for maintaining this balance. It’s an ongoing process, but I make it a point to engage in these practices daily to stay present. I’ve realised that the level of mindfulness needed for a live performance is significantly higher than what I initially thought. As an artist, this extra attention to mental well-being is vital for sustaining long-term creative health.
7. You have previously made your debut comedy hour with Before Children, After Diapers at the Edinburgh Fringe Festival. How does it feel being back at the prestigious event for yet another performance?
The Edinburgh Fringe is a fascinating place, showcasing a wide range of talents, resources, and personalities. It’s a melting pot of every conceivable human experience, from kindness to unkindness. This year, I’ve faced significant challenges, including two injuries that have made the physical aspect of this month particularly tough. Despite this, I feel mentally vibrant, which is a peculiar but invigorating place to be. The festival is exhausting, but it also brings out the best in me.
Returning to the Fringe has become a highlight of my year for the past three years, and planning for it has been a year-long endeavour. This year has been particularly difficult due to changes, including the impact of the Olympics, which has affected audience dynamics. However, our purpose here extends beyond seeking applause. We are here to create something new, to hold ourselves accountable to the work we’ve committed to.
Creating new work excites me deeply. It involves a year of writing, months of development, and weeks or even months of production planning—sound design, lighting, performance nuances, and engaging the audience in the story. It’s a complex process with many questions to answer. Despite the challenges, returning to the Fringe remains a profoundly creative and fulfilling experience for me.
8. Are there any messages you hope your audience will be able to take away from Menagerie?
I don’t write with specific messages or moralising intentions in mind. My approach is more about drawing from personal experiences, and if others find something relatable in my work, that’s a reward in itself. My focus is not on delivering messages but on creating from a place of genuine experience.
The essence of this show reflects a challenging period in my own life, particularly through a severe mental health crisis. It’s about navigating through difficult times and acknowledging that while everything may not be okay, there are ways to cope with what life throws at us.
The conversation around mental health is increasingly common, and it’s not groundbreaking to acknowledge that we live in stressful times with little room to breathe. The hyper-connected world has intensified these pressures, turning us into better corporate cogs. However, if my art can guide you through that darkness, highlight the depths of struggle, and ultimately shine a light on those experiences, then I consider my role as an artist fulfilled. I don’t aim to impart messages but hope that the story resonates on a personal level, which, so far, it seems to have.
9. Can you give us a hint of any future shows and ideas we can expect from you?
I’m currently developing a new comedy show, which should start coming together in the next couple of months. I’m also beginning a new theatre project with higher ambitions for both my comedy and theatrical work, though the timeline for its debut is still uncertain.
In addition to these, I’m working on two feature films, with the hope that one of them will be ready for release by 2024 or 2025. I’ll keep you updated on how everything unfolds.
