Mandala Theatre, Oxford

Story of Self

My father, of Indian Parsi heritage, came to England aged 21, settling in Frinton-on-Sea, Essex, a predominantly white, middle-class area. My English mother was from Lancashire. As refugees in India the Parsis were outsiders but accepted, in England we experienced material and cultural discrimination. Growing up in one of the few mixed-race families in the area, I became acutely aware of racism from a young age, often being called the N-word. My skin colour meant I couldn’t "pass" as white, and my parents’ interest in alternative health made us seem "odd."

Despite these challenges, my parents instilled in me a love of theatre and we were taken to shows regularly. I pursued drama in sixth form and later at Bretton Hall. Directing the play Sus, about the “sus laws,” politicised me, sparking my passion for socially conscious theatre. 

Exploring my heritage, I worked with Tara Arts, toured nationally, and performed at the National Theatre. Yet, I often felt I wasn’t "Asian enough," unable to speak Indian languages. This  experience inspired me to write a one-woman show, ‘Chameleon’.

After moving to Oxford I directed and developed youth theatre at Pegasus, which I loved.  Nine years ago I left Pegasus to set up Mandala Theatre Company as a Community Interest Company.  Mandala became a space for telling underrepresented stories, focusing on global majority and working-class voices. Over nine years, Mandala has grown into a National Portfolio Organisation of Arts Council England,  offering pathways into the industry for young people from marginalised backgrounds. 

Today, Mandala is like a surrogate family, and I enjoy touring with people I love. International work is central to our vision, opening young people’s eyes to other cultures. For example, this year’s Uncaging Our World festival in Oxford, though underfunded, brought together local and international performers. Even though a group of young people from Ramallah couldn’t get visas, the professional company did come and performed at the Old Fire station.

Mandala operates with one full-time and three part-time staff members, supported by a voluntary  board of six (five from the global majority and one working-class white). Only a small amount of our income comes from ticket sales 

Our professional company develops plays through workshops with schools, universities, and communities, culminating in rehearsed readings and performances. The young company (ages 18–25) meets throughout the year and rehearses intensively in the Easter holidays, and participates in international festivals, podcasts, and other creative projects.

Our work with young people has included projects like Breaking the Shell (for those in care), Speak Up (providing leadership training) and Countering Loneliness (exploring loneliness among care leavers and refugees). Mandala empowers individuals to own and share their stories, fostering creativity and resilience in underrepresented communities.

Looking ahead, we plan to explore ancestry and lineage, particularly within African and Arabic diasporas, through a “heart laboratory” in Egypt, blending creativity with heritage exploration.

Story of Us

Mandala’s young theatre group began by recruiting talented individuals through work in schools and colleges. Over the years, we’ve received major support from Oxford City Council and  the Arts Council.  Our professional shows consistently partner with universities particularly during the  research and  development stages, addressing pressing social issues.

Community organisations and cultural institutions in Oxford have played a significant role in supporting our mission, but sustaining this support remains an ongoing struggle. We’ve operated nomadically, relying on organisations like Ark-T, Activate Learning, and Makespace for rehearsal spaces. Currently, we are a resident company with Oxfordshire Youth.

Collaborations including  local arts organisations such as Pegasus Theatre and  the Old Fire Station and OVADA along with community groups like Oxford City Farm and Hogacre—have provided invaluable support. We’ve rehearsed in unconventional spaces and benefited from in-kind support and philanthropic patrons. 

Story of Now: Calls to action

Transforming spaces into Community Assets
Many brilliant organisations in Oxford lack dedicated spaces to work. The city has numerous empty shops and buildings that could be repurposed as community hubs. Mandala and others need access to affordable, permanent spaces to thrive and serve the community.

Sustainable FundingFunding opportunities, particularly from local councils, are increasingly limited and inconsistent. Grant processes often raise unrealistic expectations, offering small sums after considerable effort. Trusts and foundations are highly competitive, requiring us to put significant resources into fundraising. We need larger, consolidated grants that are crucial to support grassroots organisations.

Recognising Local Talent
Building community wealth requires nurturing and celebrating local talent rather than prioritising external prestige.  Oxford University invests heavily in its international reputation and celebrity collaborations but can often overlook the wealth of local talent. A residency for Mandala in spaces like the Schwarzman Centre Building could spotlight homegrown artists.

Equality and Access to Culture
Stories are essential for imagining better futures, and the arts should inspire hope. The arts must be more accessible, particularly for those who can’t afford traditional theatre experiences. Institutions, schools, and community groups need to place greater value on storytelling as a tool for empowerment.  Everyone talks about diversity and inclusion but we need to go further than EDI  policies or token representation. True equity lies in trusting and funding grassroots organisations that enable communities to shape their narratives and dream their futures.

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