Ainy Jaffri is stepping back onto the London stage with Rukhsati, an intimate one-act play exploring love, regret and emotional truths rarely voiced within South Asian communities. Running at Tara Theatre from April 23 to 25, the production, described as a story about “love, life and lotas”, examines complex relationships in a South Asian Muslim context and how personal choices collide with tradition and change. For Jaffri, the play marks not just a theatrical return, but an artistic reset, one that challenges her as a performer while revisiting themes of identity, agency and unresolved love.
Rukhsati marks your return to the stage in London. What drew you to this intimate one-act story and to performing live theatre again?
Ainy: It was the writing immediately. It’s rare to find something this layered and specific for British Pakistani characters in London. I was struck by how honestly it explores emotional lives we don’t usually discuss, especially for Pakistani women who they loved before marriage, what stayed with them, and the relationships that never fully disappear. The play places two former lovers in the disused toilets of a wedding hall while another wedding unfolds downstairs. They’re forced to confront feelings they never resolved. That tension between the life you’re expected to live and what you actually feel is fascinating to perform. Theatre feels right for it. It’s intimate, a two-hander, with nowhere to hide. That exposure is terrifying but also what makes it exciting.
Performing at Tara Theatre brings Pakistani storytelling to an international audience. How different does presenting South Asian narratives outside Pakistan feel?
Ainy: What’s interesting is that this isn’t a story imported from Pakistan. It’s a British South Asian story set in London, written from lived experience. What’s been beautiful is how universal audiences find it. Almost everyone understands a first love or an unfinished relationship. The play asks questions many people secretly carry : what would you say if you met that person again? Would you be honest? Would you hold back? Even though the story exists within a specific cultural context, the emotional experience belongs to everyone.
You’ve been selective with your projects. What guides your decision when choosing a role?
Ainy: It always starts with whether the material has something meaningful to say and whether the character undergoes a real journey. I want transformation, something revealed or challenged. I’ve been intentional about portraying women with agency. Characters who question expectations rather than simply exist within them. Storytelling shapes how audiences see the world, whether we acknowledge it or not. If I’m playing a brown or Muslim character, I want her to feel fully formed, complex, contradictory and human, not reduced to a stereotype.
You’ve worked across television, modeling and theatre. Which medium challenges you the most?
Ainy: Right now, theatre is the most demanding. It’s physically exhausting and incredibly exposing. You carry the entire emotional journey live, without cuts or edits. Screen work allows collaboration through camera and editing. Theatre places everything in your hands, alongside another actor and a live audience responding in real time. That energy is electrifying but also intimidating. It’s a completely different muscle I’m learning to use.
Looking back, which performance remains closest to your heart?
Ainy: Balu Mahi will always be special. It felt magical, shooting in the mountains, working on cinematic sets, surrounded by music and scale. The role allowed me to do everything: ride horses, disguise myself, play polo, run away from my own wedding. Coming from television’s fast pace, film gave me space to build a character more deeply. Now, with Rukhsati, the challenge is the opposite, stripped down and internal. I’m discovering parts of myself as an actor I didn’t know existed.
Are there genres you feel drawn to, or still want to explore?
Ainy: I’m very drawn to thrillers; stories with high stakes and emotional intensity. I’d love to play darker, flawed characters, even someone society has written off. Those roles allow you to explore psychology rather than just behavior, understanding how circumstances shape people. A psychological thriller or character-driven dark story would really excite me.
Is there a director you dream of collaborating with?
Ainy: I’m drawn to filmmakers with strong personal storytelling voices. I admire Fawzia Mirza for The Queen of My Dreams and Saim Sadiq for Joyland, both of which explore identity and desire with courage. In the U.K., Nida Manzoor’s work feels bold and culturally specific without limitation. Internationally, Greta Gerwig and Sofia Coppola bring emotional intelligence and nuance to their characters. I’m always interested in directors who allow characters to remain complicated and human.
Will audiences see you on the big screen again?
Ainy: I hope so. My recent film Coke released in cinemas in India, which reminded me how much I love film’s scale. Ultimately, storytelling matters more than platform. If the script feels right and the character has something to say or is simply fun to play, I’m in.
What criticism have you faced during your career, and how do you handle it?
Ainy: Recently it’s been amusing; comments about age or appearance. You either look older or too young; you can’t win. At some point you learn to filter criticism. Constructive feedback is valuable, but much of it is noise. You need a thick skin in this industry. I take what helps me grow and let the rest go.
Do you believe nepotism shapes the entertainment industry?
Ainy: It exists everywhere, not just entertainment. People trust those they know, so connections naturally open doors. The issue arises if opportunity continues without merit. Audiences recognize authenticity. Getting a foot in the door through connections may happen, but staying there requires talent and work. I’ve always focused on building my career step by step.
With Rukhsati opening a new international chapter, what excites you most about the future?
Ainy: Theatre feels incredibly new for me right now. It’s pushing me creatively and helping me grow. At the same time, global collaborations are exciting because storytelling is no longer confined to one industry or country. More than anything, I’m excited about discovering new sides of myself through different roles. I never want to feel repetitive. I want to keep challenging and surprising myself as an actor.
