Gurpreet Kaur Bhatti – författare

Theatre has a complex history of responding to crises, long before they happen. Through stage plays, contemporary challenges can be presented, explored and even foreshadowed in ways that help audiences understand the world around them. Since the theatre of the Greeks, audiences have turned to live theatre in order to find answers in uncertain political, social and economic times, and through this unique collection questions about This anthology brings together a collection of 20 scenes from 20 playwrights that each respond to the world in crisis. Twenty of the world’s most prolific playwrights were asked to select one scene from across their published work that speaks to the current world situation in 2020. As COVID-19 continues to challenge every aspect of global life, contemporary theatre has long predicted a world on the edge. Through these 20 scenes from plays spanning from 1980 to 2020, we see how theatre and art has the capacity to respond, comment on and grapple with global challenges that in turn speak to the current time in which we are living. Each scene, chosen by the writer, is prefaced by an interview in which they discuss their process, their reason for selection and how their work reflects both the past and the present. From the political plays of Lucy Prebble and James Graham to the polemics of Philip Ridley and Tim Crouch. From bold works by Inua Ellams, Morgan Lloyd Malcom and Tanika Gupta to the social relevance of Hannah Khalil, Zoe Cooper and Simon Stephens this anthology looks at theatre in the present and asks the question: “how can theatre respond to a world in crisis?” The collection is prefaced by an introduction from Edward Bond, one of contemporary theatre’s most prolific dramatists.

Theatre has a complex history of responding to crises, long before they happen. Through stage plays, contemporary challenges can be presented, explored and even foreshadowed in ways that help audiences understand the world around them. Since the theatre of the Greeks, audiences have turned to live theatre in order to find answers in uncertain political, social and economic times, and through this unique collection questions about This anthology brings together a collection of 20 scenes from 20 playwrights that each respond to the world in crisis. Twenty of the world''s most prolific playwrights were asked to select one scene from across their published work that speaks to the current world situation in 2020. As COVID-19 continues to challenge every aspect of global life, contemporary theatre has long predicted a world on the edge. Through these 20 scenes from plays spanning from 1980 to 2020, we see how theatre and art has the capacity to respond, comment on and grapple with global challenges that in turn speak to the current time in which we are living. Each scene, chosen by the writer, is prefaced by an interview in which they discuss their process, their reason for selection and how their work reflects both the past and the present. From the political plays of Lucy Prebble and James Graham to the polemics of Philip Ridley and Tim Crouch. From bold works by Inua Ellams, Morgan Lloyd Malcom and Tanika Gupta to the social relevance of Hannah Khalil, Zoe Cooper and Simon Stephens this anthology looks at theatre in the present and asks the question: “how can theatre respond to a world in crisis?” The collection is prefaced by an introduction from Edward Bond, one of contemporary theatre''s most prolific dramatists.

Theatre has a complex history of responding to crises, long before they happen. Through stage plays, contemporary challenges can be presented, explored and even foreshadowed in ways that help audiences understand the world around them. Since the theatre of the Greeks, audiences have turned to live theatre in order to find answers in uncertain political, social and economic times, and through this unique collection questions about This anthology brings together a collection of 20 scenes from 20 playwrights that each respond to the world in crisis. Twenty of the world''s most prolific playwrights were asked to select one scene from across their published work that speaks to the current world situation in 2020. As COVID-19 continues to challenge every aspect of global life, contemporary theatre has long predicted a world on the edge. Through these 20 scenes from plays spanning from 1980 to 2020, we see how theatre and art has the capacity to respond, comment on and grapple with global challenges that in turn speak to the current time in which we are living. Each scene, chosen by the writer, is prefaced by an interview in which they discuss their process, their reason for selection and how their work reflects both the past and the present. From the political plays of Lucy Prebble and James Graham to the polemics of Philip Ridley and Tim Crouch. From bold works by Inua Ellams, Morgan Lloyd Malcom and Tanika Gupta to the social relevance of Hannah Khalil, Zoe Cooper and Simon Stephens this anthology looks at theatre in the present and asks the question: “how can theatre respond to a world in crisis?” The collection is prefaced by an introduction from Edward Bond, one of contemporary theatre''s most prolific dramatists.

The first play collection of Rifco Theatre’s work, this book is a celebration, a call to action, and an essential read for anyone interested in theatre, storytelling, and cultural representation.Rifco’s work is dedicated to amplifying British South Asian voices in theatre, showcasing stories that explore identity, tradition, and cultural duality. Despite their significant contributions, British South Asian artists remain underrepresented in the arts. Their work is often fragmented and difficult to access, limiting opportunities for both artists and audiences.Rifco creates a structured platform that not only celebrates British South Asian theatre makers but ensures their voices are heard. Through curation, engagement, and advocacy, Rifco make these stories more visible and accessible to wider audiences. In this, their first play collection, the work explores cultural identity, family, LGBTQ+ representation, activism, and social change - offering nuanced portrayals that go beyond stereotypes and redefine representation.Featuring the plays The Deranged Marriage and There’s Something About Simmy by Pravesh Kumar MBE; Dishoom by Gurpreet Kaur Bhatti; and Meri Christmas and Miss Meena & The Masala Queens by Harvey Virdi, this edited volume is introduced by the company and makes these works available in print for the first time.

The first play collection of Rifco Theatre’s work, this book is a celebration, a call to action, and an essential read for anyone interested in theatre, storytelling, and cultural representation.Rifco’s work is dedicated to amplifying British South Asian voices in theatre, showcasing stories that explore identity, tradition, and cultural duality. Despite their significant contributions, British South Asian artists remain underrepresented in the arts. Their work is often fragmented and difficult to access, limiting opportunities for both artists and audiences.Rifco creates a structured platform that not only celebrates British South Asian theatre makers but ensures their voices are heard. Through curation, engagement, and advocacy, Rifco make these stories more visible and accessible to wider audiences. In this, their first play collection, the work explores cultural identity, family, LGBTQ+ representation, activism, and social change - offering nuanced portrayals that go beyond stereotypes and redefine representation.Featuring the plays The Deranged Marriage and There’s Something About Simmy by Pravesh Kumar MBE; Dishoom by Gurpreet Kaur Bhatti; and Meri Christmas and Miss Meena & The Masala Queens by Harvey Virdi, this edited volume is introduced by the company and makes these works available in print for the first time.

Morgan runs a community choir who meet weekly in a room above the local pub to sing great pop songs, chat and drink.There’s Paul, a former West End performer who now does local radio voiceovers; Esther and Joy, best friends who can’t stand each other; Anna, whose seemingly perfect life hides a secret; Ken, good egg and perennial loser; and Sheila, dark horse and pathological liar.The choir are busy rehearsing a concert to raise money for young Freddie to go to music college. And when a TV producer invites them to perform on national television, Morgan seizes her opportunity to hit the big time.But – are her eccentric group up to it? And what is Morgan prepared to sacrifice to get the acclaim she so desires? Home truths are revealed and secrets laid bare in this feelgood comedy with music, which explores loneliness and connection while celebrating the joy and power of community art.This edition of Choir was published to coincide with the production at Chichester Festival Theatre in August 2025.

Morgan runs a community choir who meet weekly in a room above the local pub to sing great pop songs, chat and drink.There's Paul, a former West End performer who now does local radio voiceovers; Esther and Joy, best friends who can't stand each other; Anna, whose seemingly perfect life hides a secret; Ken, good egg and perennial loser; and Sheila, dark horse and pathological liar.The choir are busy rehearsing a concert to raise money for young Freddie to go to music college. And when a TV producer invites them to perform on national television, Morgan seizes her opportunity to hit the big time.But are her eccentric group up to it? And what is Morgan prepared to sacrifice to get the acclaim she so desires? Home truths are revealed and secrets laid bare in this feelgood comedy with music, which explores loneliness and connection while celebrating the joy and power of community art.This edition of Choir was published to coincide with the production at Chichester Festival Theatre in August 2025.

Morgan runs a community choir who meet weekly in a room above the local pub to sing great pop songs, chat and drink.There's Paul, a former West End performer who now does local radio voiceovers; Esther and Joy, best friends who can't stand each other; Anna, whose seemingly perfect life hides a secret; Ken, good egg and perennial loser; and Sheila, dark horse and pathological liar.The choir are busy rehearsing a concert to raise money for young Freddie to go to music college. And when a TV producer invites them to perform on national television, Morgan seizes her opportunity to hit the big time.But are her eccentric group up to it? And what is Morgan prepared to sacrifice to get the acclaim she so desires? Home truths are revealed and secrets laid bare in this feelgood comedy with music, which explores loneliness and connection while celebrating the joy and power of community art.This edition of Choir was published to coincide with the production at Chichester Festival Theatre in August 2025.

"Writing is dangerous, it is provocative. It is sometimes necessary for audiences to feel uncomfortable and to feel provoked. Otherwise nothing changes.” (Gurpreet Kaur Bhatti in The Guardian)Gurpreet Kaur Bhatti is one of Britain’s most fearless and provocative playwrights. Her work confronts issues of faith, identity, family, class, and violence with emotional depth, biting humour, and unflinching honesty. This essential collection brings together a selection of Bhatti’s most powerful plays, offering a vital portrait of contemporary British society.Elephant: “The play’s fury lends it persuasive force” (The Times)A Kind of People: “This is the Royal Court at its best, giving us an uncompromisingly honest account of multicultural modern Britain.” (The Guardian)Scenes from Lost Mothers: “A powerful play that explores the experiences of mothers and pregnant women in prison.” (Clean Break)Marriage Material: “Raucously funny and often moving family saga… this is a pleasure to watch.” (Standard)Choir: "A fantastic, laugh-out-loud night out." (Theatre and Tonic)

"e;Writing is dangerous, it is provocative. It is sometimes necessary for audiences to feel uncomfortable and to feel provoked. Otherwise nothing changes. (Gurpreet Kaur Bhatti in The Guardian)Gurpreet Kaur Bhatti is one of Britain's most fearless and provocative playwrights. Her work confronts issues of faith, identity, family, class, and violence with emotional depth, biting humour, and unflinching honesty. This essential collection brings together a selection of Bhatti's most powerful plays, offering a vital portrait of contemporary British society.Elephant: The play's fury lends it persuasive force (The Times)A Kind of People: This is the Royal Court at its best, giving us an uncompromisingly honest account of multicultural modern Britain. (The Guardian)Scenes from Lost Mothers: A powerful play that explores the experiences of mothers and pregnant women in prison. (Clean Break)Marriage Material: Raucously funny and often moving family saga this is a pleasure to watch. (Standard)Choir: "e;A fantastic, laugh-out-loud night out."e; (Theatre and Tonic)

"e;Writing is dangerous, it is provocative. It is sometimes necessary for audiences to feel uncomfortable and to feel provoked. Otherwise nothing changes. (Gurpreet Kaur Bhatti in The Guardian)Gurpreet Kaur Bhatti is one of Britain's most fearless and provocative playwrights. Her work confronts issues of faith, identity, family, class, and violence with emotional depth, biting humour, and unflinching honesty. This essential collection brings together a selection of Bhatti's most powerful plays, offering a vital portrait of contemporary British society.Elephant: The play's fury lends it persuasive force (The Times)A Kind of People: This is the Royal Court at its best, giving us an uncompromisingly honest account of multicultural modern Britain. (The Guardian)Scenes from Lost Mothers: A powerful play that explores the experiences of mothers and pregnant women in prison. (Clean Break)Marriage Material: Raucously funny and often moving family saga this is a pleasure to watch. (Standard)Choir: "e;A fantastic, laugh-out-loud night out."e; (Theatre and Tonic)

What happens when the legacy of a father collides with the dreams of his son?Widow Jeeto Gill has spent her life working hard and making sacrifices for her children. Now she looks forward to going back to her land in the Punjab, eating saag and roti on a verandah and letting her tired eyes rest on green fields.Her son Pal seems to have it all but he’s restless. He’s got big plans for his Daddy’s business and a taste for Johnny Walker Black Label. However his kind-hearted wife Liz has her own ideas about what’s best. Meanwhile Pal’s sharp-tongued sister Cookie runs the tackiest beauty salon in town and harbours a dark secret.When their cousin’s destitute wife, Reema, arrives from back home, the Gills propose to take care of her. Little do they know that her arrival will change the course of their family’s destiny forever.

Gurpreet Kaur Bhatti has written extensively for stage, screen and radio. Her first play Behsharam (Shameless) broke box office records when it was produced in 2001. Her second play Behzti (Dishonour) won the Susan Smith Blackburn Prize in 2005. Behzti rocked the world of theatre when it was cancelled after protestsin Birmingham, forcing the playwright into hiding. The play’s closure sparked an international debate about offence and freedom of expression. In 2014, Khandan(Family) was co-produced by the Birmingham Rep and the Royal Court Theatre. This is her first collected works’ volume.Behsharam (Shameless) Two daughters, two mothers, one father, a cardboard cut-out and a foul-mouthed granny – a household at war and a family which will do anything to protect its secrets.Behzti (Dishonour) Past her prime, Min happily spends her life caring for her frail, vicious mother, Balbir. Today, for the first time in years, they’re heading out to the local Sikh temple. In a community where public honour is paramount, is there any room for the truth?Behud (Beyond Belief) A playwright attempts to make sense of her past by visitingthe darkest corners of her imagination. Inspired by the events surroundingBehzti, Behud is the compelling story of an artist struggling to be heard.Fourteen. 1983. Brainbox Tina’s parents are always shouting, her mum says she’s developing too quickly and her best friend Sharon has a dark secret. Thirty years later, Tina’s life hasn’t turned out quite how it was supposed to...Khandan (Family) Widowed matriarch Jeeto has a strong sense of her past and principles. She’s spent her life working hard and making sacrifices for her children. But eldest son Pal isn’t following in her footsteps. What happens when the legacy of a father collides with the dreams of his son?

Two daughters, two mothers, one father, a cardboard cut-out and a foul-mouthed granny – a household at war with itself, and a family which will do anything to protect its' secrets. Behsharam (Shameless) follows second generation sisters, Jaspal and Sati, through the fantasies, dysfunctions and obsessions of their extraordinary extended family.Set in Birmingham, this is a bold, disturbing and at times hilarious exploration of the British Asian experience.

What happens when the legacy of a father collides with the dreams of his son?Widow Jeeto Gill has spent her life working hard and making sacrifices for her children. Now she looks forward to going back to her land in the Punjab, eating saag and roti on a verandah and letting her tired eyes rest on green fields.Her son Pal seems to have it all but he’s restless. He’s got big plans for his Daddy’s business and a taste for Johnny Walker Black Label. However his kind-hearted wife Liz has her own ideas about what’s best. Meanwhile Pal’s sharp-tongued sister Cookie runs the tackiest beauty salon in town and harbours a dark secret.When their cousin’s destitute wife, Reema, arrives from back home, the Gills propose to take care of her. Little do they know that her arrival will change the course of their family’s destiny forever.

Gurpreet Kaur Bhatti has written extensively for stage, screen and radio. Her first play Behsharam (Shameless) broke box office records when it was produced in 2001. Her second play Behzti (Dishonour) won the Susan Smith Blackburn Prize in 2005. Behzti rocked the world of theatre when it was cancelled after protestsin Birmingham, forcing the playwright into hiding. The play’s closure sparked an international debate about offence and freedom of expression. In 2014, Khandan(Family) was co-produced by the Birmingham Rep and the Royal Court Theatre. This is her first collected works’ volume.Behsharam (Shameless) Two daughters, two mothers, one father, a cardboard cut-out and a foul-mouthed granny – a household at war and a family which will do anything to protect its secrets.Behzti (Dishonour) Past her prime, Min happily spends her life caring for her frail, vicious mother, Balbir. Today, for the first time in years, they’re heading out to the local Sikh temple. In a community where public honour is paramount, is there any room for the truth?Behud (Beyond Belief) A playwright attempts to make sense of her past by visitingthe darkest corners of her imagination. Inspired by the events surroundingBehzti, Behud is the compelling story of an artist struggling to be heard.Fourteen. 1983. Brainbox Tina’s parents are always shouting, her mum says she’s developing too quickly and her best friend Sharon has a dark secret. Thirty years later, Tina’s life hasn’t turned out quite how it was supposed to...Khandan (Family) Widowed matriarch Jeeto has a strong sense of her past and principles. She’s spent her life working hard and making sacrifices for her children. But eldest son Pal isn’t following in her footsteps. What happens when the legacy of a father collides with the dreams of his son?

Vira hasn't seen her sister Deesh for years. Deesh's kids, Amy and Bill, want to know why but nobody's telling them anything.When Deesh invites her sister to Amy's flashy party, Vira reckons it's time to come home and move on. Time to stop watching the telly, get out of her council flat, stick on a glitzy sari and embrace her nearest and dearest.But is it possible to forgive and forget? And when a family is built on lies, will it be destroyed by the truth?

Vira hasn't seen her sister Deesh for years. Deesh's kids, Amy and Bill, want to know why but nobody's telling them anything.When Deesh invites her sister to Amy's flashy party, Vira reckons it's time to come home and move on. Time to stop watching the telly, get out of her council flat, stick on a glitzy sari and embrace her nearest and dearest.But is it possible to forgive and forget? And when a family is built on lies, will it be destroyed by the truth?

“In this country, you go as far as they let you.”Friday night and someone’s having a party. It seems like a laugh, but not everyone’s having fun. Nicky and Anjum want their kids to get into the best schools, and Gary is feeling the pressure after applying for a promotion. What happens when not everyone will get what they want?Gurpreet Kaur Bhatti's new play about a group of working-class friends dreaming of a better life for their children questions the dream of class mobility, and what happens when the odds are stacked against you.

“In this country, you go as far as they let you.”Friday night and someone''s having a party. It seems like a laugh, but not everyone''s having fun. Nicky and Anjum want their kids to get into the best schools, and Gary is feeling the pressure after applying for a promotion. What happens when not everyone will get what they want?Gurpreet Kaur Bhatti''s new play about a group of working-class friends dreaming of a better life for their children questions the dream of class mobility, and what happens when the odds are stacked against you.

A mother and daughter’s illusions are shattered when they head to the local Sikh Temple, as they’re immersed in a world of desperate aspiration and dangerous deals. Behzti (Dishonour) touched such a nerve in a Sikh community during its UK production that the playwright was forced into hiding because of death threats.

Behud (Beyond Belief) is the latest play by controversial playwright Gurpreet Kaur Bhatti.In December 2004, Gurpreet Kaur Bhatti’s play Behzti rocked the world of theatre when it was cancelled after protests in Birmingham. The closure of the play sparked a vehement debate about offence and freedom of speech, as well as death threats for the playwright forcing her to go into hiding.In Behud, a playwright attempts to make sense of the past by visiting the darkest corners of her imaginations. Set amidst the theatre establishment, politicians and protesters, Behud is an imaginative response, inspired by the events surrounding Behzti, and the compelling story of an artist struggling to be heard.

Behud (Beyond Belief) is the latest play by controversial playwright Gurpreet Kaur Bhatti.In December 2004, Gurpreet Kaur Bhatti's play Behzti rocked the world of theatre when it was cancelled after protests in Birmingham. The closure of the play sparked a vehement debate about offence and freedom of speech, as well as death threats for the playwright forcing her to go into hiding.In Behud, a playwright attempts to make sense of the past by visiting the darkest corners of her imaginations. Set amidst the theatre establishment, politicians and protesters, Behud is an imaginative response, inspired by the events surrounding Behzti, and the compelling story of an artist struggling to be heard.