Conspirators’ Kitchen was founded by Nirjay Mahindru in 2002 to address what has been a consistent gap in the theatrical market. The company believes that there has been an historical dissonance between venue expectation of what “British Asian” work should be, and Artistic exploration from younger theatre practitioners. Thus, too many venues cannot see beyond Saris, Samosas and silly songs as the sum total of such work. Other old hat derivatives acceptable to both venues, myopic writers and blind producers include taking European classics and adapting them to an Asian setting. This serves to “explain” why ethnics are performing such classics in the first place, and apparently is also meant to enlighten and educate. The idea of producing the classics as is, without any sort of adaptation to some Calcutta slum, casting performers on merit irrespective of race, gender, etc, seems beyond the wit of established theatre practice.

The company believes that when one uses the phrase “British Asian”, the “British” element of that phrase is usually ignored. Commonality with others is subsumed by an undue emphasis on difference which is fracturing wider British society. Historically, some theatre practitioners have pandered and made a living exploring such difference since they have no sense of the term “British Asian” indeed, in conjunction with many venues, they have been hostile to it. These self styled theatre “Swamis” have behaved like con artists, having no artistic regard for the British Asian community at all. Up until recently, plays set in Mumbai were seen as more relevant than plays set in Manchester.

The company is primarily a new writing company looking to create work of direct relevance to ordinary people today. It serves to reflect the needs and aspirations of younger professional actors too often given a raw deal within the wider body politic of British Theatre, whatever their origin.

Although the company will primarily aim to explore the British Asian community it will not exclusively do so and will not hesitate to explore controversial issues theatrically that are not necessarily “Asian” in context