THE writer and lead actress of a play about the Grunwick strike against workplace exploitation said conditions now are “possibly worsening” for those in employment.
We are the Lions, Mr Manager! tells the story of Jayaben Desai, the leader of a strike movement against Grunwick Film Processing Laboratories in the 1970s.
The India-born activist fought for the rights of workers, culminating in a two-year protest that saw strikers across the country picket against working conditions, pay inequality and racism within the workplace.
Neil Gore told Eastern Eye that the Grunwick protest was the beginning of “normalising” bad working conditions, but noted that monitoring in warehouse jobs has “actually got worse”.
“It’s a continuation of the same thing [that happened at Grunwick],” Gore said last Friday (24). “You see exploitation in the workplace, especially exploitation of immigrant workers and so forth, that carries on today and in a way, it is worse.”
The play is an immersive stage show which attempts to get the audience as involved as possible. They are encouraged to get up from their seats to join the ‘picket’ and are even given various props to help them interact with the production, including protest placards and small torches to shine during musical numbers.
The show’s name comes from a direct quote from Desai who, in comparing the factory to a zoo, told her manager that the employees were not “monkeys who dance on your fingertips... we are the lions, Mr Manager!”
The role of Desai is portrayed in the play by actress Medhavi Patel, 33.
Patel, who has worked in corporate jobs in the past, said she knows about being unable to express views freely in the workplace.
“I’ve worked in places and had different situations where I couldn’t say what I wanted to, but I’ve always had the support of my family and friends,” she said. “I know you have to speak up and I have – I’ve had support to do that, but there are people out there who don’t.”
The play is currently in the middle of a UK tour, and a Q&A session was held last Tuesday (14) prior to the performance at the Tara Theatre in south London.
The session was attended by a series of key speakers, including Desai’s son Sunil, and writer and journalist Amrit Wilson, who said that although a lot has changed since Grunwick, a lot has stayed the same.
“[There is still] a large scale of racism, a scale of misogyny, which is increasing if anything, and the sheer exploitation of workers which is worse than it was,” she pointed out. “We now have zero-hour contracts, workers who do not have rights, and this is becoming normalised.”
In recent years, workplace exploitation has continued to be exposed in the UK. This year, the National Minimum and Living Wage statistics showed in 2016-17, HMRC’s enforcement teams identified £10.9 million in back pay for 98,150 of the UK’s lowest paid workers – a 69 per cent increase on those helped in the previous year.
A number of high-profile companies in Britain have been tarred by reports of workplace exploitation.
In 2015, it was reported that employees at the retail chain Sports Direct were effectively paid below minimum wage, were body-searched daily throughout their shifts and lectured by name via tannoy if their working pace was not fast enough.
Patel said she hoped the play inspires people to go out there and fight for what they believe in.
“No one is taught to fight, we are taught to accept,” she told Eastern Eye. “You should be able to have that discussion with employers – they are an asset to you, but you are also an asset to them.”
Gore agreed with Patel and said he hoped the performance motivates people to “continue the struggle”.
He said: “You can’t stop fighting – you fight again, and you fight again,” he said. “The fight goes on – the next generation has to pick up the baton and do the same again.
“We want the spirit of Jayaben to continue as well. We want to make sure [what she stood for] isn’t forgotten. Someone like her should be remembered.”
We are the Lions, Mr Manager! is showing at selected UK theatres until April 2018
A 19th-century painting in Wiesbaden sees a massive visitor surge.
Fans spotted a direct link to the opening shot of The Fate of Ophelia.
Museum staff were completely caught off guard by the 'Swiftie' invasion.
They are now planning special tours to capitalise on the unexpected fame.
The question on everyone's mind: did Taylor Swift visit this place herself?
It is not every day a quiet German museum gets caught in a pop culture hurricane. But that is exactly what has happened at Museum Wiesbaden, where a painting of Shakespeare’s Ophelia has become a pilgrimage site. The reason? Taylor Swift’s latest music video for The Fate of Ophelia kicks off with a scene that looks ripped straight from their gallery wall. Suddenly, they have queues of fans where usually there is just quiet contemplation.
The Ophelia painting that Swifties say inspired The Fate of Ophelia becomes an overnight sensation Instagram/taylorswift
How did this Ophelia painting become so popular?
To be honest, it was simply hanging there. Friedrich Heyser’s work from about 1900. It is lovely, sure, but it was not a headline act. Then the video drops. And you see it immediately in the pose, the white dress, and the water lilies. It is practically a direct copy or, let us say, an homage. Fans on social media connected the dots in hours. Now the museum cannot believe its luck. Visitor numbers went from a few dozen admirers to hundreds, just over one weekend, like a whole new crowd for a century-old painting.
What has the museum said about the surprise attention?
They are thrilled, but a bit stunned. A spokesperson said it was a "shock" and they are having an "absolute Ophelia run." Can you blame them? One minute you are managing a classical collection, the next you are at the centre of a global fan phenomenon. They tried to reach Swift’s team, but they had no luck there. But they have leaned into it completely. Now they are organising a special "Ophelia reception" with guided tours. Smart move, right? It is a perfect storm of high art and pop star power, and they are riding the wave.
The big question: did Taylor Swift actually visit?
This is the real mystery, is not it? How did this specific painting, in this specific German museum, end up as the template for a mega-budget video? The staff are wondering the same thing. She was in Germany for the Eras tour last July. Did she slip in, incognito? Did a location scout send a photo? The museum thinks they would have noticed if Taylor Swift was wandering their halls. Who knows? It is the sort of stuff that feeds fan speculation for years. Whatever the facts, the painting's life has been irreversibly altered.
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