Life style
INTERVIEW – ANNE RANI: Danish Superstar of Lankan descent
BY Tharishi Hewavithanagamage
Music transcends time and borders. The variety of genres available today caters to everyone’s tastes in music, from classical music to rock, R&B, rap and more. Accessibility to songs today comes at the touch of a button, all provided by streaming giants like Spotify and Apple Music. But the 90s era was very different and produced many songs that are considered timeless classics today. Apart from hip-hop and rap, genres like R&B and urban music became extremely popular in the 90s. Ground-breaking and eclectic most songs from the era were outcomes of bold experimentation and creative fusions.
Trends picked up with teen-pop and dance-pop music from boy bands and girl bands such as ‘NSync, The Backstreet Boys, Spice Girls, TLC and Destiny’s Child to name a few. They topped charts around the world and their releases continue to transcend generations of avid listeners. Anne Rani— a successful singer, songwriter, producer and budding actress— spawned from the trendy 90s era. Sri Lankan by birth Anne was adopted by Danish parents in 1976, from an orphanage in Panadura at just eight months old. She was too young to have any recollection of her childhood and birth in Sri Lanka, she was fortunate enough to start her life in Denmark. Shooting to fame at a young age, Anne has seen and experienced it all. The Island was fortunate enough to speak to the Danish pop star who had very valuable insights to share based on her many experiences, especially as a female POC (person of color) making it big in the music industry. Her reputation in her native Denmark is based on her phenomenal success as a member of R&B trio “JUICE”.
Q. How did you get into the music scene?
From a very young age she was already gifted with the art of music. She started taking piano lessons at the age of six and looking back she says, “I loved music, and I was able to play by ear, so I often had trouble remembering notes.” She continues, “I was also part of the choir and I remember the teacher telling my parents that I should take singing classes”, which became the foundation for her career. Anne also went to America for eight months as an exchange student, which is where she was able to develop her English language skills. In the time she spent in America, she recalls the most amazing experiences that expanded her taste for music. She goes on, “In those eight months I had an amazing choir teacher. She was truly an inspiration and I still remember her to this day. She runs the most amazing choirs even today. To experience music like that, it was simply beautiful. I learned a lot about singing in harmony.”
She returned to Denmark to complete her education, but on the side, she would continue to make music. “After school I used to meet up with music producers, I would play in bands and go out performing too. I also used to make demo tapes with my producer back then”, Anne says. Her hard work paid off when, unbeknownst to her, one of her friends played her demo tapes for a producer from the leading record label in Denmark – EMI-Medley. “After hearing my demo, the producer contacted me, and that magical phone call completely changed my life”, Anne recalls.

The record label was already working on putting together a girl group and invited Anne to join. “I was only 19 years old at the time and I went to meet the team and the other girl who was chosen to join the project. I took the opportunity and my life changed in a flash.” Anne became a member of the Danish girl band JUICE alongside Lena Tahara and Maria Hamer. The group became very popular with their debut album and were instant chart toppers, both domestically and internationally. “We toured all over the world and performed at big venues like the Wembley arena in the UK. We also went on tour with the British boy band Five,” Anne says.
The group lasted for five years and released two albums in their active years. The trio also collaborated with songwriter Remee, S.O.A.P and Christina Undhjem on the song ‘Let Love Be Love’, which Anne says is ‘the biggest Christmas song in Denmark to this day’.
Q. What were your experiences like as a female artist and POC in the music industry?
While Anne considers herself very lucky to have received the opportunity to enter the music industry so early on in life, but also shared the less glamorous side to having so much fame at a very young age. “We were very young, and we didn’t know much about the industry. We were constantly traveling and promoting, and the experience was unique, but it was also hard. Not everyone gets to see the more difficult days we go through,” she says.
Going further, we discussed her experience as a female artist in the music industry and the difficulties she faced. “When I was young, I definitely had to prove that I was more than just a pretty face. Having a pretty face is said to be a good thing in showbiz, but sometimes you need to prove that there is more to you than just that. You need to carve out an identity for yourself and show that you are talented and capable of putting in the hard work and effort that goes into creating music. Regardless of gender people will always be quick to judge and question your abilities, so it’s important to prove yourself.” She was often told that as a female artist she had to work harder to ensure she could leave her mark in the industry.
The music industry has always wrestled with inclusion, diversity and gender disparity. Many POC musicians have been subject to marginalization, despite being highly talented and widely popular among listeners. In addition, female artists in particular have been treated differently in comparison to their male counterparts.
From big names like Missy Elliot and J-LO, to popular boy and girl bands, the music industry in the 90s saw an insane influx of music and a variety of artists. “In the 90s when R&B music broke through, artists like Missy Elliott and Jennifer Lopez, were thrust into the limelight. There was this explosion of Black and Latin music culture, All of a sudden, it became ‘cool’ and ‘trendy’ to be someone of color and people became swept up in it. This worked to my advantage as I actually had some skin color,” Anne says. Diversity played a key role in their group as well, seeing as the JUICE trio came from mixed cultures and backgrounds. “None of us looked Danish and we sort of became part of the trend. At the time we were truly fortunate as female artists from varying backgrounds to get our foot in the door,” Anne adds.
The changing times and ensuing digitalization has pushed topics of discrimination, gender disparity and lack of diversity in the industry to the forefront. Fans and critics have been vocal about such injustices via social media platforms. Anne agrees that people today are very socially aware and are having more open discussions about such subject matters, that would not have seen the light of day in the past.
Q. After bidding goodbye to your days as a group, was it difficult to find your footing as a soloist?
Although she had already formed an identity for herself and a reputation in the industry, as she embarked on her solo career, she found herself being too dependent on finding a producer to help construct her visions. “It is wonderful to work with others and as a team. But as an artist, being able to pen out what’s on your mind is important. Nobody can ever really understand what you mean until you show it yourself. Producers cannot read minds and how everyone experiences music is very different,” she says. “I grew up listening to artists like the late Prince, Michael Jackson and Madonna. I grew up dreaming of achieving such success. Artists like Prince were really inspirational, because he could play instruments, write and produce too. To be an artist capable of doing many things is exciting,” Anne adds.
With help from her friends in the industry and tons of YouTube tutorials she felt liberated as she was now able to create and manifest her own sketches before handing them to a producer who could fine-tune her work. Anne released her first debut single in 2009 called ‘Fall’. Since then, Anne has collaborated with various artists such as Andy Taylor (Duran Duran), performed at famous venues like Pacha Ibiza and even released five singles.
The music industry today has expanded, and the market has expanded greatly in comparison to the 90s. Bigger labels have more money involved and are taking on more chances of discovering talented individuals who can create unique pieces of music that will stick around for a long time. The digital age has also given people more access and options to create music and express themselves freely. Anne believes that it is a great opportunity for budding young talent to make their way into the industry
“Music can be enjoyed in many different ways, despite the changing times”, Anne concludes.
Q. Have you visited Sri Lanka? How have you approached the idea of reconnecting with your roots?
“To me everything Sri Lankan is interesting as I didn’t grow up there. I haven’t been able to make frequent visits, but I aim to do so in the future. I’m always looking to meet more Sri Lankans and experience the culture and learn more about its history as well,” Anne says. She also hopes to connect with her fans in Sri Lanka and welcomes the idea of working and collaborating with Sri Lankan musicians in the future.
Q. What are you up to these days?
While she isn’t currently working on any music, she is exploring the world of film and acting. “I played a small role in a Danish TV series and since then my curiosity has piqued. I’m enthusiastic about exploring the world of acting and I hope to see where it will take me. It’s refreshing to do something else,” Anne says.
Life style
In love with linen: Minha Akram’s creative journey
By Zanita Careem
Linen has evolved from a timeless natural fabric into a modern lifestyle statement, and Minha Akram founder of ‘Tropic of Linen,’ has made linen her signature brand.
With her first store at Ward Place and its newest outlet at the Shoppers at Cinnamon Life, the brand continues to bring effortless, tropical elegance to contemporary fashion. In this interview, Minha speaks about her designs and the journey of taking ‘Tropic of Linen’ into a new chapter.
(Q) Why has linen become such an important fabric in today’s fashion and lifestyle market?
(A) I think linen has always had the qualities that people are looking for today. It is natural, breathable, durable and has a very particular beauty to it. What has changed is that people are now paying much more attention to those qualities.
There is also a growing interest in buying fewer things but choosing them more carefully. People want clothes that are comfortable enough to live in, but still have a sense of style and individuality. Linen fits very naturally into that way of dressing.
For us, the appeal of linen has always been quite instinctive. We didn’t choose it because it was fashionable at the time. We chose it because we loved the fabric and felt it was particularly relevant to how people live in Sri Lanka.
(Q) What inspired you to establish a linen-focused brand and bring it to Cinnamon?
(A) I had always been interested in fashion and design, and I studied Fine Art and Design at the University of Cape Town. That gave me a strong creative foundation, but my career subsequently took me into other areas before I eventually came to fashion as a business.
When Shukran and I started discussing the possibility of working together, we realised that our different experiences could complement each other very well. He had a strong understanding of apparel and linen, while I was coming from a creative perspective. Linen became a natural meeting point between the two.
We also felt there was an opportunity to create something that was specifically relevant to Sri Lanka rather than simply bringing international fashion concepts into the local market.
The move to Cinnamon is an exciting new chapter for us. We wanted to take the essence of ‘Tropic of Linen’ into a setting where both local customers and visitors could discover the brand and experience what we have been building over the years.
(Q) Why is linen particularly suited to Sri Lanka’s tropical climate?
(A) Our climate makes comfort an important consideration when you get dressed, and linen is naturally very good at dealing with heat. It is light, breathable and doesn’t cling to the body in the way that some other fabrics can.
But I think its suitability goes beyond the practical side. Linen has a relaxed quality that works beautifully with the Sri Lankan way of life. You can wear it during the day, to lunch, while travelling or in the evening, and it can be styled in very different ways.
That versatility is important to us. We aren’t designing clothing simply because it is appropriate for hot weather; we are designing clothes that people can genuinely incorporate into their lives.
(Q) How has the perception of linen changed from being seen as a simple summer fabric to becoming a fashionable, premium material?
(A) I think people have become much more sophisticated in the way they look at fabrics. Linen is no longer being judged purely on whether it is practical for warm weather. People appreciate its texture, its natural movement and the way it changes with wear.
There is also a growing understanding that the little imperfections of linen are part of what makes it beautiful. It doesn’t need to look completely rigid or perfectly pressed to look elegant.
And from a design perspective, linen can be incredibly versatile. The quality of the cut, construction and finishing can completely change the way the fabric looks and feels. That has helped move it beyond the idea of being simply a casual holiday fabric.
(Q) Today it has become a symbol of effortless style, comfort and conscious living. What do you think has driven this remarkable change in the way people view linen?
(A) I think our relationship with clothing has changed. There is much more awareness now of what we are buying, how often we are buying it and whether something is actually going to remain part of our lives.
Linen has a very natural relationship with that shift because it doesn’t need to be constantly reinvented. A good linen garment can be worn for years and can look different as it becomes part of your wardrobe.
There is also something very appealing about the fact that linen doesn’t try too hard. It has an ease to it. I think that resonates with people who want to look considered without looking overly dressed.
(Q) What inspired you to become an entrepreneur and enter the industry?
(A) For me, it was less about deciding one day that I wanted to become an entrepreneur and more about recognising an opportunity and having the courage to pursue it.
I have always enjoyed the process of taking an idea and developing it into something tangible. Building a business gives you the opportunity to do that in a very complete way. You are constantly moving between the creative side, the people side and the practical side of running a company.
With ‘Tropic of Linen,’ there was a clear sense that we were creating something that we believed was missing. That gave me the motivation to take the risk and see where it could go.
(Q) Tell us about your journey from your early beginnings to establishing your own brand?
(A) It has been a gradual process rather than a carefully mapped-out career path. Before ‘Tropic of Linen,’ I worked in events, marketing and advertising, so I came into the business with experience in areas that were quite different from running a clothing brand.
When Shukran and I began working together, we started experimenting and learning what worked. We were able to draw on his knowledge of the manufacturing side and my experience in the creative and commercial side.
The business grew from there. We started relatively small and allowed the customer response to guide us. Over time, we learned more about what people wanted, refined our designs and developed a clearer understanding of what ‘Tropic of Linen’ should be.
I think that gradual evolution has actually been one of the strengths of the brand. It has given us time to develop an identity rather than having to create one overnight.
(Q) How did you develop your vision for the brand?
(A) A lot of it came from observing the people around us and thinking about what was practical and desirable for them.
We wanted to create clothing that made sense in Sri Lanka; not just because of the weather, but because of the way people here dress, socialise, travel and live. That meant thinking carefully about proportions, silhouettes and the different ways people want to wear their clothes.
I also didn’t want the brand to be dependent on a particular fashion moment. The idea was always to create pieces that could remain relevant beyond a single season.
Over time, those ideas have developed into what I think of as the ‘Tropic of Linen’ aesthetic: relaxed but considered, comfortable but polished, and very much connected to where we are.
(Q) How do you keep yourself informed about changing trends while maintaining your own identity?
(A) I think you need to be curious about what is happening around you. I follow fashion internationally, but I don’t necessarily look at trends with the intention of reproducing them.
Instead, I look at how people’s attitudes to clothing are changing; what they are wearing, how they are styling things, what colours and shapes are emerging and, perhaps most importantly, what people are responding to.
Then I filter all of that through our own perspective. Something may be very fashionable internationally, but that doesn’t automatically mean it belongs in our collection.
The brand has its own language now, and I think it is important to keep that intact while allowing it to evolve.
(Q) Where do you see the brand in the next few years?
(A) I would like to see ‘Tropic of Linen’ continue to grow, both locally and beyond Sri Lanka, while retaining the qualities that have made people connect with it in the first place.
The next stage is about reaching more people and giving the brand greater visibility, but I don’t want that to mean becoming less personal or less distinctive. I think there is a real opportunity to show that a Sri Lankan brand can have a strong point of view and appeal to people well beyond our shores.
Ultimately, I would like Tropic of Linen to be recognised as a design brand in its own right, with linen at its heart but with an identity that goes beyond the fabric. I want the brand to continue evolving while always retaining that connection to Sri Lanka and to the way we live here.
Life style
What lies behind our waters?
Professor Upul Premarathne on offshore exploration
By Zanita Careem
Professor Upul Premarathne is a professor in Oceanography and Marine Geology at the University of Ruhuna, as well as a chartered geologist. He formerly served as a Petroleum Geologist in the Economic Research Department of the Central Bank of Sri Lanka. He holds a PhD in Petroleum Geology from Hokkaido University, Japan; an MSc in Petroleum Geosciences from the Norwegian University of Science and Technology (NTNU); and a BSc (Hons) in Geology from the University of Peradeniya. With over 20 years experience in petroleum and marine geosciences, his research focuses on petroleum systems, basin analysis, tectonics, and seismic interpretation, particularly in Sri Lanka.
Professor Upal Premarathne of the University of Ruhunu is an academic and researcher in the field of oceanography and maritime geology, with a strong interest in Sri Lanka’s marine resources, ocean research and related environmental issues. He provides insights into Sri Lanka’s offshore petroleum, exploration prospects and the challenges of developing this emerging sector responsibly.
(Q) Which areas of Sri Lanka are considered the most promising for offshore, petroleum exploration, and why?
(A) When it comes to the petroleum potential of Sri Lanka, the land areas have relatively poor potential. This is because we do not have sedimentary basins on land with more than three kilometres of sediment thickness, which is required for the formation of commercial petroleum deposits. Therefore, petroleum exploration in Sri Lanka has mainly focused on the offshore sedimentary basins, particularly the Cauvery and Mannar basins.
The Cauvery Basin is located off the northern and northwestern coast of Sri Lanka, while the Mannar Basin lies south of Mannar Island, off the western and southwestern coast of the country. Both basins are shared between India and Sri Lanka.
On the Indian side, around 30 oil and natural gas deposits have so far been discovered in the Cauvery Basin. Though six hydrocarbon exploration wells were drilled in the Sri Lankan side of the Cauvery Basin from 1970 to 1981, none of them encountered a commercially viable hydrocarbon deposit.
On the other hand, two of the three exploration wells, Dorado and Barracuda, drilled in the Mannar Basin in 2011, encountered natural gas, while Dorado-North was a dry well. These discoveries established the existence of an active petroleum system in the Mannar Basin. In addition, high-resolution seismic data indicate more than 6 kilometres of sediment thickness, along with the geological structures required for the formation of larger petroleum deposits. Therefore, the Mannar Basin is currently the area of greatest interest for hydrocarbon exploration in Sri Lanka.
(Q) How strong is the geological evidence that commercially viable oil or gas deposits could exist in Sri Lankan waters?
(A) We have direct evidence of hydrocarbons because of the Dorado and Barracuda natural gas discoveries. However, the occurrence of crude oil has not yet been established. Analysis of drill cuttings and other important scientific data from previous exploration wells in the Mannar Basin, combined with basin and petroleum system modelling studies, shows that there is also a possibility of crude oil occurring in the basin.
However, finding hydrocarbons is not the same as finding a commercially viable petroleum field. We still need to establish the size of any accumulation, the quality of hydrocarbons, the recoverable volume, the production rate, the reservoir characteristics, and, ultimately, whether development would be economically viable.
So, scientifically, there is a sound basis for further exploration. But I would not say that Sri Lanka has yet to establish commercially producible oil or natural gas reserves.
(Q) Sri Lanka is embarking on another offshore oil and gas exploration drive. What makes this exploration round different from the earlier exploration?
(A) It has been about 15 years since the last exploration drilling in the Mannar Basin. However, during this period, there have been significant changes to the legal, fiscal, environmental, and administrative frameworks governing the Exploration and Production (E&P) sector in Sri Lanka.
To address some of the shortcomings, identified during the previous exploration round, the Parliament enacted the Petroleum Resources Act No. 21 of 2021 repealing the Petroleum Resources Act No. 26 of 2003. This new legislation restructured the former E&P sector regulator, the Petroleum Resources Development Secretariat (PRDS), into the Petroleum Development Authority of Sri Lanka (PDASL), giving it greater powers to make decisions more efficiently and in a timely manner.
Previously, Sri Lanka entered into petroleum exploration without having direct scientific evidence confirming the occurrence of hydrocarbons in the Mannar Basin. This time, however, bids are being invited for a basin with proven hydrocarbon potential. This has significantly reduced the exploration risk. As a result, the Mannar Basin could be more attractive to international oil companies than it was during the 2007 licensing round.
There is also a difference in the way the exploration area has been divided. In the 2007 licensing round, only three out of the eight exploration blocks, covering approximately 42,200 square kilometres of the Mannar Basin, were offered for exploration. In the current licensing round, an area of 33,963.97 square kilometres in the Mannar Basin has been divided into only four exploration blocks. This means that exploration companies will have access to a larger area for petroleum exploration under a single exploration license.
There have also been significant changes to the fiscal and legal terms, the profit-sharing mechanism, the bidding criteria, the environmental regime, and the availability of exploration data.
(Q) What does offshore oil exploration mean for Sri Lanka?
(A) Sri Lanka has a large offshore area with significant geological complexity, but only a relatively small part of it has been systematically explored. Exploration can help us determine whether hydrocarbons are present, where they occur, how large the accumulations may be, and whether they have any commercial potential.
Oil exploration can bring a range of direct and indirect benefits to Sri Lanka, including the creation of new job opportunities. It can also generate opportunities for local businesses and service providers that support exploration activities.
If a commercial discovery is eventually made, the implications could be significant for the country. It could reduce our dependency on oil imports and strengthen the country’s energy security. A reduction in the annual oil import bill could also improve the country’s balance of payments and support greater economic growth.
However, I think we should first focus on establishing what resources actually exist, rather than assuming that petroleum wealth is already there.
(Q) Where exactly will the exploration take place?
(A) The current licensing round covers four exploration blocks, with a total offshore area of 33,963.97 square kilometres in the Mannar Basin.
The first two blocks, 2026-MB-01 and 2026-MB-02, are located in the northern part of the Mannar Basin, in water depths ranging from 100 to 2,500 metres. They cover areas of 5,948.95 and 5,689.05 square kilometres, respectively.
The other two blocks, 2026-MB-03 and 2026-MB-04, are located in areas with water depths ranging from 100 to 3,000 metres. They cover 10,597.67 and 11,728.30 square kilometres, respectively.
(Q) What is the biggest opportunity and the biggest challenge in this new exploration drive ?
(A) The biggest opportunity is that we now have a much better geological foundation on which to build. We have previous seismic data, well data, drill cuttings, and other geological and geophysical datasets, as well as direct evidence of hydrocarbons. Modern exploration technologies also allow us to reinterpret these existing data in much greater detail and with greater accuracy.
At the same time, the biggest challenge is the uncertainty combined with the high cost of exploration. Offshore petroleum exploration is riskier than exploration on land. Some of the prospects are located in deep and ultra-deep waters, with water depths ranging from around 1,000 to 2,500 metres and, in some areas, exceeding 2,500 metres. Exploration in such environments requires sophisticated technology and specialised drilling vessels, making it extremely expensive. Higher exploration costs mean that we need to discover larger petroleum deposits with greater recoverable volumes of oil for those discoveries to be commercially viable.
On the other hand, international oil companies have other attractive basins to choose from in different parts of the world, such as the Santos and Campos basins in Brazil, the North Sea offshore Norway, etc. In Norway, the government reimburses a large percentage of exploration costs if an exploration company could not discover oil or natural gas at the end of its exploration period. Therefore, oil companies are naturally more attracted to such locations for petroleum exploration.
(Q) From a petroleum geology point of view, how significant could a successful discovery be for Sri Lanka?
(A) From a petroleum geological perspective, a successful discovery would be very significant because it would provide much more information about the evolution of the Mannar Basin and its petroleum systems.
Such a discovery would help us understand how hydrocarbons were generated, migrated, and accumulated beneath the seabed. It could also provide important insights into the geological history and architecture of the Mannar Basin.
Of course, if the discovery proved to be commercially viable, its economic significance could extend far beyond geology.
(Q) Does Sri Lanka have the scientific expertise needed to properly monitor offshore exploration?
(A) One of the challenges is the shortage of scientific expertise needed to properly monitor offshore exploration activities. Some degree programmes at local universities already offer subjects relevant to the petroleum industry, including seismic technology, seismic data processing and interpretation, petropoliss, and petroleum economics.
However, we should recognise that a modern petroleum industry requires expertise across a much broader range of disciplines, including geochemistry, drilling, reservoir engineering, environmental management, economics, and petroleum law.
Therefore, I would say that we have a foundation, but we need to strengthen our capacity substantially. Access to modem software, computing facilities, real geological datasets, and research funding is particularly important.
We should use this new phase of exploration as an opportunity to build Sri Lankan expertise and capacity, rather than simply depending on foreign expertise.
(Q) As a petroleum geologist, how hopeful are you about Sri Lanka’s offshore oil and gas potential?
(A) I am cautiously hopeful. There are genuine geological reasons to continue exploring the Mannar Basin. We have a thick sedimentary succession, favourable basin architecture, prospective structures, and, most importantly, proven hydrocarbon occurrences.
However, I would not consider these a guarantee of commercially viable oil or gas. Petroleum exploration always involves uncertainty. The Dorado-North well illustrates this very clearly. It was drilled only about 2.5 kilometres north of the successful Dorado well, yet it turned out to be a dry hole.
So, my position is that Sri Lanka has a strong geological basis for further exploration. But ultimately, we should allow the exploration data to determine how much petroleum potential actually exists.
(Q) Finally, do you believe Sri Lanka has a significant opportunity beneath its sea that is yet to be fully explored?
(A) I believe Sri Lanka has an important geological opportunity that has not yet been fully evaluated. The Dorado and Barracuda wells have proven that hydrocarbons occur beneath our waters. What we do not know yet is whether those hydrocarbons occur in commercial quantities or not.
Our experience over several decades suggests that the main issue may not be the lack of petroleum potential. One of the bigger challenges has been that we have never explored our offshore basins continuously and systematically enough to determine their full potential.
So, I would describe this as a golden opportunity for Sri Lanka. We should explore seriously, make much better use of our existing data, strengthen our scientific capacity, and ensure that any eventual benefits are managed in the long-term national development.
Life style
Sri Lankan-origin actress will play Sita in a leading musical at Wembley Arena
Sri Lankan-origin actress Bhavithra Gananathan made her professional acting debut as Sita in the major arena production Diwali Story: The Journey of Ram – a musical at OVO Arena Wembley recently
The 19-year-old multidisciplinary artist and university student will appear opposite Kiran Kaanan, who plays Ram, in the large-scale musical retelling of the Ramayana. The professional cast will be joined by approximately 100 community actors and dancers. The production follows the success of the show’s sold-out 2025 staging at the Royal Albert Hall and will feature new material and original music.
Bhavithra is an actoress, writer and classically trained Bharatanatyam dancer. She began acting at the age of five, when she played Ursula in a production of The Little Mermaid. During the ensuing 14 years, she trained and performed with organisations, including the National Youth Theatre and the Rose Theatre. She currently trains at the Collective Acting Studio and won the National Iris Breuer Writing Award in 2024.
She began learning Bharatanatyam at the age of seven under her aunt, Smt Meena Elankumaran, and completed her Arangetram in March 2025. Bhavithra has also trained in Carnatic vocal music since she was 12.
Commenting on Sita’s connection with Sri Lanka, Bhavithra said: “As a young woman, it is especially meaningful to portray Sita. An important part of her journey unfolds in Sri Lanka, and the island’s landscape, history and traditions retain a powerful connection with the Ramayana. Playing Sita allows me to explore that connection while helping to bring this timeless story to a new generation.”
The musical begins in the home of a contemporary British family, where a teenager, named Luv, is introduced by his grandparents to the deeper meaning of the story of Ram and Sita. The production explores exile, sacrifice, duty and difficult choices while presenting the Ramayana in a way designed to engage audiences across different generations.
The Wembley production included original songs and music by Indian composer Rahul Ranade, with celebrated playback singer and Padma Shri recipient Kavita Krishnamurthy contributing to the new score. A newly created third act explored the five days of Diwali and the continuing influence of the Ramayana’s values on contemporary family traditions.
Directed and co-written by Sâmir Bhamra, the production was presented by Sanatan Events Ltd in partnership with The Palan Foundation and Golden Tours.
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