"It's a wonderfully written play."
In exciting news, the talented actor Maanuv Thiara is gearing up for his exciting new play, Guards at the Taj.
It is 1648 in Agra, India. As the sun rises on the last day of the construction of the monumental Taj Mahal, the Imperial Guards Babur and Humayun must resist the temptation to steal a glimpse.
The two guards are also best friends but find their urges too strong.
In an audacious and funny tale of friendship, betrayal, and power, Babur and Humayun discover that beauty comes at a terrible price.
While Usaamah Ibraheem Hussain plays Babur, Maanuv Thiara brings Humayun to life.
Adam Karim directs the play, and it is written by Rajiv Joseph.
In our exclusive interview, Maanuv Thiara talked about Guards at the Taj, the art of acting, and much more.
What is the play about, and what attracted you to the role of Humayun?
Guards at the Taj takes place in Agra in 1648. It is about two guards – Humayun and Babur – who are childhood friends.
They are guarding the Taj Mahal on the last day before it is completed.
Shah Jahan – the man who made it – has basically decreed that nobody should see it until it is fully completed.
The play begins with the tension of these two guards guarding the most beautiful thing ever made, wanting to look at it, but not being able to do so.
Afterwards, it goes into some pretty dark, funny directions, which I won’t spoil, so that’s where it starts.
It’s a wonderfully written play – it’s playful and contemporary. Despite it being set in 1648, the exciting thing for me is that it is not a period piece in the traditional sense.
The feel of the production that Adam is cultivating is very contemporary, too.
We speak with our natural accents, our costumes are more on the contemporary side, and it’s not a period piece with those costumes and accents.
It feels quite exciting to play because it’s also a very funny show. All the dialogue and horror is very light.
It’s a gift for an actor to play – it’s witty, quick, and intelligent.
As a South Asian actor, I think the stories that we tell can be quite limiting. It’s getting better, but in theatre, I think you can sometimes be limited to things about the ancient era and the Mughal rule.
I had done my fair share of that, but I wasn’t looking for that in my next story.
I think the audience will go in expecting one thing and then quickly realise that it is not that.
That is quite an exciting place to start.
How important is the theme of friendship in Desi stories today?
Friendship is so accessible and universal, and we’ve all experienced similar themes.
To get to express them in a way that hopefully the audience can relate to is a good purpose in art.
It is great to play, and Usaamah is a wonderful young actor. He’s been so great to act opposite.
It makes my job easier if you’re opposite someone who is so easy to like and so playful and skilful.
In a two-hander, chemistry is essential because you’re working in such proximity.
Chemistry is important for sure, but I think what’s more important is trust.
I trusted Usaamah – we had great conversations, and he only graduated a year ago.
I very quickly realised that this is someone with whom I felt comfortable in being in quite an exposing environment.
We have to go to some dark, vulnerable places in this play and to do that truthfully if you trust the other person, that’s just as important – if not more – as having chemistry.
I certainly feel that Usaamah and I have both.
Can you describe collaborating with Adam Karim?
Adam is a wonderful director. He used to be an actor, so he knows how to communicate with us as he has been on our side of the fence.
That’s invaluable and saves us a lot of time. If we’re stuck on anything, he knows how to undo that quite well.
He has cultivated a very energetic, playful, and safe room. We play Four Squares every morning. It’s a very fun room to be in.
As a guy, Adam is incredibly patient and generous in his time and offers.
He doesn’t show any ego, and that is an incredible way to direct.
He listens, and even if he thinks you’re going down the wrong track, he will let you explore that.
Some directors don’t do that. Adam is so collaborative and generous. I’ve learned that and taken that from him.
What inspired you to become an actor?
I think it might have been Shah Rukh Khan!
I used to watch a lot of Bollywood films from the early to mid-2000s when growing up.
They moved me in incredible ways, and Shah Rukh Khan was in almost all of them.
I thought what he was doing was very cool.
From those, I think I got interested in what acting could be.
I got to see a lot of incredible plays at the RSC as I lived near there when I was younger. I saw The Homecoming when I was 17.
It was the first time I felt physically uncomfortable in a play, and it was incredible how theatre can make you feel something physical.
From there, I went to drama school, and I’ve been doing it ever since.
What advice would you give budding actors?
I think, just do it! That doesn’t mean professionally or paid. That means reading a script or play with your friends.
Get involved in youth clubs and amateur drama groups. Watch TV and films and discuss them with your mates.
Go and see stuff. I know theatre is incredibly expensive, but there are schemes, especially if you’re under 25 or 30.
The Orange Tree is starting an under-30s scheme with Guards at the Taj.
If you are serious about it, immerse yourself and do it for the reason of wanting to work and not wanting to be famous or wanting to be a particular actor.
You can have your heroes, but learn about it and do it – there are no shortcuts.
What does the Taj Mahal mean to you?
I have been to the Taj Mahal. I think I perhaps went with my family when I was 14.
I was in awe of it. I always felt growing up as a South Asian in this country, I feel proud of it on a subconscious level.
I don’t think about it all the time, but it reminds me of going on family trips.
On a deeper level, whenever I learn about the ‘Seven Wonders of the World’, I always feel a degree of pride that one of those is in India.
That was a thing that my culture had.
What do you hope people will take away from the Guards at the Taj?
The play is epic and spans a long period, and I hope to take the audience with us on that journey.
I hope they become invested in the story and characters.
Ultimately, I hope that people relate to the characters, see a little bit of themselves, and understand themselves a little bit through the play.
I also think it’s very funny and a good, engrossing story.
Maanuv Thiara is an actor of talent, potential, and inspiration.
His commitment and dedication to his craft shine through and promises to make Guards at The Taj an exhilarating experience.
He is also working on a short film that he has written. So, it’s all upwards from here.
Here is the full list of credits for the play:
Humayun
Maanuv Thiara
Babur
Usaamah Ibraheem Hussain
Director
Adam Karim
Writer
Rajiv Joseph
Designer
Roisin Jenner
Lighting Designer
Elliott Griggs
Composer
Xana
Sound Designer
Niraj Chag
Casting Director
Matilda James CDG
Previews for The Guards at the Taj begin on October 26, 2024.
The show runs at the Orange Tree Theatre from October 30 to November 16, 2024.
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