‘I’ve always felt too old and too young at the same time’: The Last of Us star Bella Ramsey on swapping child stardom for cult television – and Celebrity Traitors

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At 22, Ramsey has already been on our screens for a decade, and nominated for every award going. So why do they find it strange to be called an actor? Bella Ramsey often feels more comfortable around older people. The actor, 22, who is non-binary and uses they/them pronouns, has been working professionally since they were 11, when they got their first TV job as the child noblewoman Lyanna Mormont in Game of Thrones. For half of their life, they have been in adult environments, talking to adults, working with adults. Even so, the London cafe in which Ramsey has chosen to meet makes any retirement home look like a creche. It is full of old men with their dogs, popping in for a cup of tea and a morning chat. “It feels like it belongs in the Midlands. It feels a bit, like, shit and familiar,” says Ramsey, who grew up in the East Midlands and can say that with affection. Their curly hair is short, pushed back off their face, and they have a single gold hoop in one ear. The plan had been to ...
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‘It’s like Game of Thrones!’ The return of India’s ancient superhero fantasy epic

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In the 1980s, Peter Brook’s adaptation of The Mahabharata enchanted audiences on stage and screen. As Brook’s son presents a restored print at the Venice film festival, he and his team discuss the work’s extraordinary journey

When Antonin Stahly was nine years old, his mother took him to the Théâtre des Bouffes du Nord in Paris to see a production of the ancient Indian epic The Mahabharata, which translates loosely as “the great story of mankind”. More than 20 actors from 16 countries performed on a stage steeped in red earth and scarred by a water-filled trench; fire also played a leading role. Directed by Peter Brook, whom the RSC founder Peter Hall called “the greatest innovator of his generation”, and adapted by Luis Buñuel’s former co-writer Jean-Claude Carrière, this spectacular Mahabharata weighed in at nine hours, plus intervals. Even at that length, it represented a massive compression of its source text, which runs to 1.8m words. Brook and Carrière’s version has been likened to summarising the Bible in 40 minutes.

Audiences could devour The Mahabharata in three parts over successive evenings or as an all-day weekend marathon; in some outdoor venues, such as the limestone quarry in Avignon where the production premiered in 1985, it began at dusk and climaxed just as the dawn sun lit up the sky. Stahly saw it in a single noon-to-midnight sitting. “It was like a superhero fantasy,” he says, still sounding awestruck. “It had Bhima, the strongest man on Earth, and Bhishma, who has the power to live for ever. Arjuna was the best warrior. And then there were all the gods. It was amazing for me, because I’m half Indian, but I wasn’t brought up in an Indian context.”

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