PARAG Agrawal, who took over on Monday (29) as the new head of Twitter, shot from relative obscurity as the platform's technology expert to becoming the latest India-born talent to lead a US tech giant.
Unlike his predecessor, co-founder Jack Dorsey, Agrawal enjoyed until Monday a much more low-profile role at the company, with only about 24,000 followers on the platform, compared to Dorsey's almost six million.
But with a tweeted statement that began, "Thank you, Jack, I'm honored and humbled," Agrawal took the reins of a company aiming to steer away from free speech battles and toward growth.
Agrawal is also the latest India-born star tapped to head a major US-based tech company, following the likes of Google-parent Alphabet's CEO Sundar Pichai and Microsoft CEO Satya Nadella.
"He's been behind every critical decision that helped turn this company around," Dorsey wrote of Agrawal in a message to Twitter staff.
"He leads with heart and soul, and is someone I learn from daily. My trust in him as our CEO is bone deep."
Educated in computer science and engineering at the Indian Institute of Technology Bombay (now Mumbai) and holding a PhD from Stanford University in California, Agrawal joined Twitter in 2011 and rose to become its CTO by 2017.
As the head of technology at the firm, he oversaw machine learning and artificial intelligence, as well as the company's broad technical strategy.
These specialties make him a natural choice to replace Dorsey, Creative Strategies analyst Carolina Milanesi told AFP.
"Going forward AI (artificial intelligence) and ML (machine learning) will be more and more critical in making the platform healthier and more engaging for users and more profitable for the company," she said.
"We might also see some more rigor and rational in the decision-making process," Milanesi added.
A profile in the New York Times quoted Jennifer Widom, who led the research lab and served as his thesis adviser, as saying that “even among students at Stanford, Agrawal stood out for his strong grasp of the math and the theory that underpins computer science”.
Prior to being appointed CTO, he “had risen to be Twitter's first Distinguished Engineer due to his work across revenue and consumer engineering, including his impact on the re-acceleration of audience growth in 2016 and 2017,” the company said.
Agrawal was also head of the company's "Bluesky" push to create a more open and decentralised standard for social media.
"I recognize that some of you know me well, some just a little, and some not at all," Agrawal said in an email to the some 5,500 employees at San Francisco-based Twitter.
The platform has grown far less exponentially than its Silicon Valley neighbours and has very meagre net profits compared to the two giants of digital advertising, Google and Facebook's parent Meta.
Profitable for the first time in 2017, Twitter has slipped back into the red several times since.
Dorsey is perhaps best known to the public as the man who kicked Donald Trump off Twitter, the former president's preferred megaphone to rally his fans and assail his critics.
But Agrawal has given indications that he does not view the platform as a venue for working out boundaries of free speech.
In an interview with MIT Technology Review in 2020, Agrawal said the company, which became a focus of conservative rage in the US after banning Trump, should "focus less" on free speech.
"Our role is to serve a healthy public conversation and our moves are reflective of things that we believe lead to a healthier public conversation," he said.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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