Before relocating to London, Sasha Ghoshal was an acclaimed Rabindrasangeet singer in India, specialising in the music of Rabindranath Tagore. He made history performing Tagore's works at Shakespeare's Globe and Cadogan Hall and now leads workshops on Tagore’s music globally. Recently, he joined the cast of ‘Pericles’ as part of the Ensemble, directed by Tamara Harvey for the Royal Shakespeare Company (RSC).
In an interview with Asian Voice, Sasha spoke about his role, representation of South Asian stories and actors in the theatre scene and much more.
Can you tell us about your role in the ensemble of the upcoming play "Pericles"? What drew you to this production?
I studied music and theatre at the Royal Central School of Speech and Drama which became central part of my life. My most recent role was at the National Theatre in ‘The Father and the Assassin’, directed by Indhu Rubasingham. For me, working on a Shakespearean production with the Royal Shakespeare Company under Tamara Harvey’s direction felt like a dream come true. Playing in the ensemble has been incredible, working alongside seasoned Shakespearean actors as well as newcomers. Covering multiple roles is both challenging and exhilarating, as each role demands a unique approach and keeps me constantly engaged.
How does it feel to be part of a Shakespearean play, especially one as adventurous and complex as "Pericles"?
Being part of a Shakespearean play, especially one I hadn't read or seen before, has been an incredible experience. I’m surprised it isn’t more popular, but I believe this production will change that due to Tamara Harvey’s unique direction and the phenomenal performances. The story we’re telling is fundamentally about hope. Much like Rabindranath Tagore’s work, which always carries a sense of hope despite deep pain and sorrow, this play offers a powerful message of transcendence and optimism. Each performance moves me to tears, as the story’s profound sense of hope resonates deeply with me.
What unique challenges and opportunities come with being part of an ensemble in such a dynamic play?
Being an ensemble member and understudy for multiple roles presents a unique challenge. I must stay prepared to step into any role at a moment’s notice, balancing my own track while being ready to portray vastly different characters. This is my first time covering so many roles, and it feels like an apprenticeship in the craft of acting. I’ve always been a lifelong learner, and this experience is a valuable opportunity to learn from esteemed actors and master various roles. Being part of a Shakespearean production with one of the greatest theatre companies in the world is incredibly rewarding. I’m committed to rising to the challenge and contributing meaningfully to this prestigious company.
Any memorable rehearsals or moments you'd like to share while working with your fellow cast members?
Every day in the rehearsal room is a delight because the team is incredibly open-hearted and cohesive. One of the most enjoyable aspects of the rehearsal process has been the exercises we do to understand Shakespearean language. Shakespeare's writing can be challenging, so we focus on dissecting each word and sentence to ensure clarity.
For example, if there's a line that needs refinement, we’re encouraged to question and rephrase it in our own words. The aim is to ensure everyone on stage understands the intention behind each line and delivers it with purpose. This method not only helps us grasp the language but also clarifies the storytelling intent, which is crucial for connecting with the audience. As a result, audiences have noted how clear and engaging the story is, despite the complexity of the language.
How do you perceive the representation of South Asian stories and actors in the theatre scene today?
There is still work to be done in telling South Asian stories, but progress is being made. For instance, Rabindranath Tagore, the first non-white Nobel laureate, remains underexposed in the Western world despite his significant contributions. His work, including Rabindrasangeet, deserves more recognition. Recent developments are promising. My previous role at the National Theatre in ‘The Father and the Assassin’, which explored the life of Gandhi's assassin, which talked about South Asian history. Additionally, having Indhu Rubasingham as the Artistic Director at the National Theatre—breaking the tradition of white male leadership—demonstrates progress. While there is still a long way to go, these changes are encouraging, and I remain hopeful that further advancements will continue to unfold.
What changes or improvements would you like to see in the industry to better support and showcase South Asian talent?
In my view, we need to move beyond focusing on a person's skin colour and instead appreciate their qualities. Whether it's a South Asian performer or storyteller, what truly matters are the universal human qualities and experiences they bring to the table. A South Asian story can be as impactful and relevant as any Western story. We should shift our focus from categorising and pigeonholing people based on their ethnicity and instead recognize them as individuals with valuable, human stories to share. It's time to stop boxing people in and start celebrating the richness of their narratives for what they truly are: human stories that resonate with everyone.
