I began writing plays after completing an MA in Creative Writing at City University. My first play, An Indecent Incident from a Nasty Story by Dostoevsky, was staged in an old zip factory on Brick Lane with a live band. I later wrote the site-specific play Our Glass House.

Our Glass House.

"All the kings’ horses and all the kings’ men couldn’t put you, poor thing, back together again."

In 2012, I began working on Our Glass House with Common Wealth Theatre. What emerged was a gripping site-specific event staged in a disused council house that pulls back the curtain on domestic abuse.

Action unfolds simultaneously across multiple rooms, with audiences free to chart their own journey through the space, encountering fragments of lives in crisis at every turn. The performance text is drawn from real-life testimonies gathered from women and men who have experienced domestic abuse, exploring the complex reasons people stay – and the harrowing reality of how they finally break free.

Haunting, immersive, and urgent, Our Glass House refuses to reduce survivors to statistics, instead giving voice to the hidden struggles unfolding behind closed doors.

The production was awarded a Special Commendation by Amnesty International at the Edinburgh Fringe Festival 2013, named a pick of the Fringe by The Metro, a Theatre Highlight by The Independent, and received a Hot Star from The Scotsman.

Group of seven diverse people standing outdoors in front of a brick wall with a sign that says "You Are Here As A Witness." Some people look serious or sad, and one person is holding a basket, another a soccer ball, and another a tissue.

What the critics said:

"The show… takes place in one house, but it stands for what happens in many houses across the UK." – The Guardian

"Our Glass House is immersive theatre that truly opens a door into another world." — The Independent

"This is the latest attempt by Common Wealth… to bring theatre to the people, be about the people and give them a sense of involvement… It's simply wonderful." — The Stage

Group of people gathered in a dimly lit kitchen or dining area, with a woman in a pink dress holding a plate, speaking or explaining something, while others listen attentively. There are dishes, a pot, and a loaf of bread on the counter.
A woman wearing a headscarf and a traditional dress standing in front of a black wall with floral patterns and paper flowers.
Person standing in front of a brick wall with white letters that say 'You are here as a witness.' The person is holding a large, red patterned fabric that covers their head and shoulders, and they are wearing beige pants and a grey and turquoise top.
A woman with red hair styled in a bun and bangs, wearing a dark purple knitted sweater, is looking to her left in sunlight. She is in front of a white appliance with the brand name 'CUPBOARD' visible.

No Guts, No Heart, No Glory

As an antidote to the reality of domestic violence amongst young women, I went on to write and co-create No Guts, No Heart, No Glory.

The play is based on interviews with Muslim female boxers, including two National Muslim female Champions in Bradford: Saira Tabasum and coach Ambreen Sadiq. Our young cast came through an audition process in Bradford schools – most had never performed in front of an audience before we took the show to the Edinburgh Festival in 2014. Since then, the play has won a Scotsman Fringe First Award, toured the UK, and toured internationally.

The cast of five shaped the play based on their experiences, their insight, and what felt right – what we all wanted to say. During our rehearsals, Israel started its offensive on Gaza, and some of the actors began going to protests.

The crisis in Gaza was a stark reminder as we made the play: to be brave in our own lives and to be brave on a wider, international level, to be proud of where you come from and who you are. It began to feel more and more like a protest play – not one where we say 'no', but one where we say 'yes'.

Muslim young women are rarely represented in the media. No Guts, No Heart, No Glory is a chance for Muslim young women to represent themselves: to dance, to box, to swear, to get angry, to enjoy it, to be champions.

What the critics said:

“Full of sweaty, sweary joy at the sheer possibilities of life." – The Guardian

"Powerful and triumphant … a celebration of the human will that transcends religion and gender." — The Independent

"An irresistible thing about muscle, guts and the determination to stand up for who you are in an increasingly mad world." – The Herald

"A theatrical experience to remember; raw, heartfelt, blazing with energy and sometimes absolutely beautiful." – The Scotsman

A young woman seated on a wooden box in a boxing gym, wearing a white t-shirt with yellow lettering, black leggings, and green and black sneakers, holding an orange boxing glove, with a background of boxing gloves and equipment on shelving, dimly lit
A young woman with dark hair and a teal shirt is sitting on the floor next to a red boxing glove with the brand name "Everlast." She appears to be rest or waiting with a calm, focused expression. The background features a rustic brick and wooden wall
Young women practicing jump rope in a gym with motivational words like 'Respect', 'Discipline', and 'Courage' on the wall.
A female boxer in boxing gloves and sports attire sitting on a bench, listening attentively during a training session inside a gym with boxing equipment and yellow safety ropes.
Five young female boxers standing in a boxing gym, dressed in training gear, with boxing gloves and headgear on the floor in front of them.
Four young women in boxing gear, wearing headgear and gloves, standing in a gym with boxing equipment in the background.
A group of people forming a human pyramid, with women supporting others and smiling, in front of a large motivational sign that reads 'COURAGE' and a list of respect rules on a screen.

The Table

"Nobody is a nobody. Life just moves.
Hope is hope is hope again."

In 2022, I started thinking about the general elections, post-Brexit Britain, and the anti-migrant rhetoric that was spreading across the country. That's when I began working on The Table.

Highlighting the experiences of first-generation economic and war migrants in Peterborough, Bournemouth, and London, this bold new play is made to change. Every production of The Table is uniquely put together by each performance company, using 32 scenes written by me, and based on four years of research with migrant communities across the UK.

The Table threads together deeply humane scenes about the challenging and joyous shared experiences of migrants in Britain – stories of leaving, arriving, belonging, and the fragile hope that carries people through.

This edition was published to coincide with the 62 Gladstone Street touring production in association with Leeds Playhouse, ARC in Stockton, Strike-A-Light in Gloucester, The Green Backyard, Metal Peterborough, and Landmark Theatres for Counterpoints Refugee Week in June 2026.

“Award-winning writer highlights refugees' struggle” – BBC News

“Against a backdrop of anti-immigration riots around Britain, a work-in-progress play about refugees made by artists and community groups from Peterborough and Bournemouth is coming to Edinburgh – as a timely show of defiance. Playwright Aisha Zia explains why” – The Scotsman

The play is available to purchase at: Bloomsbury.com
License free and available to anyone to perform.

A man dressed as a scientist or magician in a white lab coat, bow tie, and yellow shirt is playfully pointing at a woman with a bubble wand, creating bubbles in a dark setting.
A woman with long curly hair is sitting on a chair in a dark room, speaking or performing, while a man in shorts sits nearby on a high stool or chair. Audience members are seated in front of her, and the scene appears to be in a performance or rehear
Three people stand in front of a dark background with orange lights. One woman faces left, another person with glasses faces right, and a man with an afro looks upward.
A man with a clown nose, makeup, and a white shirt holding a telephone, standing in a dimly lit room with string lights hanging in the background.
Three people standing in a dark room illuminated by colored lights. The man on the left wears a vest and has facial hair, looking serious. The woman in the center is wearing a hoodie, with an afro hairstyle, looking to her left. The woman on the righ

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