Interview with Jonny Khan

Ahead of CAMDENWALLA's opening at Camden People's Theatre this June, I caught up with writer and director Jonny Khan to discuss overlooked London histories, intergenerational activism, and bringing real stories of community resistance to the stage. Set inside the very building where the real Camden Monitoring Project once operated, the play shines a light on the Bengali volunteers who protected their community during a period of escalating racist violence in 1990s London and transforms a space of activism into one of remembrance, theatre, and reflection.

What first led you to the story of the Camden Monitoring Project and the communities behind it?

It started with conversations, really. Speaking to Nasim Ali, talking to people at community centres, chatting to restaurant workers on Drummond Street, and then diving into the archives. The more people I met, the more I realised there was this incredible story hiding in plain sight.

The play explores a largely overlooked chapter of London history. Why do you think these stories have remained underrepresented for so long?

I think a lot of the people involved were simply trying to survive and protect their communities. They probably didn't see themselves as making history. Looking back now, I can see how remarkable what they achieved was. I'm lucky enough to have the privilege to reflect on these stories and to live in a London that has benefitted from the work they did.

The relationship between Muhammad and Alima seems central to the play's emotional core. What interested you about exploring activism through an intergenerational lens?

I was interested in how different generations approach activism. How do you create change? What do we owe the generations that came before us? 0Muhammad and Alima allowed me to explore both the sacrifices of those who fought for the rights we have today and the energy and resilience of younger people who decide enough is enough.

The play highlights forms of grassroots care and protection that existed outside official systems.

Why was it important to foreground that unseen labour?

Because these stories may never get told otherwise. I'm only one generation removed from people who sacrificed huge amounts so that the next generation could live more safely and more freely. I think it's important we remember that none of this happened by accident.

How did you balance political history with the more intimate human stories within the piece?

For me, the play is first and foremost about a Bengali family. That's the heart of it. The politics are important, but they're experienced through people trying to survive, support one another and find their place in the world. I think audiences can connect with that regardless of their background.

Your previous work often explores identity, power, and marginalised voices. Does CAMDENWALLA feel like a continuation of those themes?

Definitely. In many ways it feels like an ode to my father's generation and everything they endured. But it's also a conversation with my own generation about what responsibility we have to carry that work forward.

What has surprised you most during rehearsals?

Just how relevant these stories feel. Every morning I'd come into rehearsals after listening to the news and there would be something that connected directly to the conversations we're having in the room.

How do you navigate creating politically urgent theatre without losing emotional nuance?

At the end of the day, this isn't a play about politics - it's a play about two people full of life, humour and hope who are being shaped by the world around them. That's where the emotional truth lies.

What does theatre uniquely offer when telling stories rooted in community history?

The fact we're performing this play in the very building where the Camden Monitoring Project was founded feels incredibly special. That's a rare thing. Theatre allows communities to gather together and see their own histories reflected back at them in a living, shared space.

Was there a particular testimony or moment from your research that stayed with you throughout the writing process?

What stayed with me was the level of racism people experienced. Today it often feels more coded or passive. Back then it was frequently direct, violent and unapologetic. Hearing those stories really stayed with me.

How meaningful is it to present this work in Camden itself, surrounded by the communities connected to the story?

It's a huge privilege. Opportunities to tell stories like this are rare and opportunities to tell them in the places where they actually happened are even rarer.

If audiences leave carrying one thought or feeling with them after CAMDENWALLA, what would you most want that to be?

How do I show up for my community?

A huge thank you to Jonny Khan for taking the time to speak with me about CAMDENWALLA: blending urgent political history with deeply human storytelling, the production sounds set to be a powerful and necessary exploration of resistance, solidarity, and community memory. CAMDENWALLA runs at Camden People's Theatre from 17 June to 4 July. Tickets and further information can be found via https://cptheatre.co.uk/whatson/CAMDENWALLA