Award-winning theatre director, Bruce in an exclusive interview with Firstpost says that when it comes to the theatre scene, artistically, there is far more in common than people might assume. The level of talent—actors, directors, designers—is absolutely comparable. He also talks about how theatre is evolving in the country., though funding remains one of the most significant challenges.

Edited excerpts from the interview:

Can you tell us about your theatre journey in India?

My journey in India began quite organically. I was directing a show in New York when my producer, Pádraig Cusack, called me, having joined NCPA as a consultant creative producer.  I came here initially to direct a production and, like many people who encounter Mumbai, I found it incredibly energising. There is a vibrancy in this city and a distinct appetite for storytelling.

What drew me in was the breadth of work being made across languages and forms. From that first project, one thing led to another, and I eventually took on the role at the National Centre for the Performing Arts, following a long conversation with the Chairman, Mr Khushroo N Suntook. With his support, the focus has been on building a programme that reflects the diversity of India while maintaining international standards—whether that’s through festivals like Pratibimb, Vasant, Connections and META, new writing initiatives with Soho Theatre, or productions like Death and the Maiden.

It’s been about creating work that can sit confidently on both the Indian and global stages.

How is the
theatre scene evolving in the country?

It’s evolving in quite an exciting way. There’s a growing confidence in Indian storytelling—particularly in regional languages—and a willingness to engage with more complex, contemporary themes.

At the same time, there’s a noticeable shift in how audiences are engaging. Younger audiences are coming in, often through festivals or outreach work, and they’re open to experimentation. That’s encouraging.

What we’re also seeing is a greater emphasis on collaboration—between cities, between disciplines, and increasingly internationally. The ecosystem is still developing, but there’s a sense of momentum. New venues are being planned and built across the country. It won’t be long before there are several world-class arts institutions in India, alongside the NCPA. It’s fantastic for practitioners and the public to have.

How challenging has it been to bring audiences back to watching plays?

We’ve actually seen a very encouraging shift. Our audiences have grown year on year since the pandemic, and we’re now seeing some of the highest attendance levels we’ve ever had—across all genres.

Accessibility is very important to us. We offer a diverse range of ticket prices and work hard to be as inclusive as possible from a language and economic standpoint.

There’s a real appetite for live, shared experiences, and audiences are clearly valuing that sense of connection following the pandemic. The focus now is on building on that momentum—continuing to create and present work that feels vital, engaging, and worth coming out for.

If you were to compare the theatre scene in India with that in the West, how similar or different is it?

Artistically, there is far more in common than people might assume. The level of talent—actors, directors, designers—is absolutely comparable.

The difference lies in infrastructure and support systems. In the UK or parts of Europe, there is sustained public funding, established touring networks, and a long-term approach to development. In India, those structures are still emerging.

That said, India has something quite powerful: an extraordinary range of stories and traditions, and a certain resourcefulness in how work is made. There’s a freedom in that, which can lead to incredibly original theatre.

When it comes to funding, how challenging is the current landscape?

Funding remains one of the most significant challenges. There is strong audience demand, and institutions like the NCPA are seeing growing footfalls, but that isn’t matched by consistent financial support. The sector relies heavily on CSR funding and private philanthropy, and while that support is invaluable, it can’t always provide the stability needed for long-term growth.

In many countries, the arts are recognised as a vital part of cultural and economic life, and are supported accordingly. In India, we’re still building that understanding.

In fact, we should think of it more as an investment in the country’s cultural identity. It is well-documented that the arts and live performance help to boost local economies, simply by existing. Think of the number of businesses that benefit from high footfall on a regular basis.

If we want to create work at the highest level—and to sustain artists, technicians, and institutions—we need a broader commitment to funding the arts. That’s the next step in the sector’s evolution.