Meera Syal and Tanika Gupta’s friendship clearly runs deep. They nod in recognition to each other’s anecdotes and speak about being part of the Asian Women Writers’ Collective in the 1990s, when it was a far smaller world for British south Asian writers and actors. So it is not surprising that just before Syal was due to meet the National Theatre’s outgoing director, Rufus Norris, for an ideas meeting, she called on Gupta for anything she might offer him.
“How about you doing Queen Lear?” suggested Gupta, a playwright with a history of adapting the classics, who had transposed Shakespeare’s drama, putting an imperious mother at its centre. Syal phoned Gupta six hours later to say: “He’s up for it.”
