AN ASIAN actress has spoken of her experiences of prejudice within the entertainment industry, as she prepares to star in the first ‘women of colour’ production of a Shakespeare play on a major UK stage.
Shobna Gulati will play the Duke of York in Richard II, the story of a king’s fall from power in England.
Directed by Adjoa Andoh and Lynette Linton, the play was described as “historic” when it was first announced for its entirely female ethnic minority cast and crew.
Gulati, who is known for her roles in TV soap Coronation Street and Victoria Wood’s sitcom Dinnerladies, has been in the industry for 35 years.
Throughout her extensive theatre and TV career, however, she has encountered a lack of opportunities for ethnic minorities.
“It’s been a tough journey,” she told Eastern Eye. “There have been times when I’ve not had the language to say, ‘actually what you’re doing is appropriating me, or you have got an unconscious bias’.”
Gulati said she realised that some doors were not open to her, but it did not deter her from her acting ambitions. Looking back, although she has no regrets, she wished she had more opportunities so she could have played roles which are unavailable to her now because of her age.
When Gulati started out in the industry, artists such as Andoh, Donna Croll and Sarah Lam were “pioneers” in the industry, but they were typecast in “ethnic” roles. “It wasn’t their fault they were in predominantly ‘ethnic’ roles,” Gulati said. “It was how they were cast and how they were perceived by some.”
However, Gulati admitted she was inspired when she watched British-Pakistani actor Art Malik play the role of Pip in Great Expectations. “When I saw him play a traditionally white character, I thought, ‘why isn’t this possible for all of us all of the time?’” she recalled.
Although Gulati has been part of diverse productions and companies in the arts, she claimed to have never seen such a “vast heritage” on stage as in Richard II.
“There are always one or two of us [ethnic minorities] in a play, or one of many from a specific area, from a specific background,” she said. “But in this, [although] we come from different cultural backgrounds, we are all from England.”
When co-director Andoh asked her to be part of the production, Gulati admitted she was stunned. “It was so magnificent what she was asking,” she said. “I knew I had to do it.”
Gulati revealed that playing the Duke of York – King Richard’s uncle and one of his most trusted advisors – was a refreshing experience. She had never previously had to learn “so many lines in [her] life,” and described the chance to play a role with a story arc as a “weird sensation”.
“For a woman of colour to have more than three sentences, to have a journey and a whole story arc of my own – I’ve never had this much story in my life,” she said.
Although the Lancashire-born star said she was sad that it has taken so long for such a diverse cast of women to be on an iconic stage, it was “exciting” that it was finally happening.
The play, which explores issues of division and identity, will be staged as Britain prepares to leave the EU on March 29. It feels particularly appropriate, Gulati said, as its themes coincide with the current state of the UK.
“My character says: ‘If you raise this house against this house, it will the woefullest division prove that ever fell upon this cursed earth’,” she said. “It feels very relevant.”
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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