Atul Khatri brings Well Trained, a show full of universal and seasoned wit, to Hyderabad
Comedy that cuts across age, language, and even geography is rare — but that’s exactly the kind of humour Atul Khatri has built his reputation on. Over the years, he’s grown into a household name in India, becoming one of the steady voices that helped shape the country’s stand-up boom. From his early EIC days to Well Trained, Atul’s comedy is the kind that instantly connects with people no matter where they’re from.
What is Atul's new show about?
In a chat with Indulge, he shares what he’s learned from audiences around the world, and how the culture of stand-up in India continues to evolve.
Can you tell us a bit about the show Well-Trained?
My earlier show was called Daddy Cool. As comedians, what we do is: write a show, tour it across the world, release it on YouTube, and then start working on the next one. This new show took me about a year of writing and practicing, and for the past six months, I’ve been touring with it.
I call it Well-Trained. If you see the poster, it shows me being trained by my two daughters, my wife, and my dog. The show is about my relationship with them, with some added stories — like attending the Ambani wedding last year, travelling the world, meeting old friends, and more.
And when you’re crafting a show, from ideation to execution, what stage do you consider the most critical and how do you go about it?
It starts with the thought itself — can I talk about this, and will it be interesting to people? Most importantly, will it connect across generations? It shouldn’t be something only older people relate to while younger people get bored or vice versa.
I make sure the material isn’t too local, so it works globally. Since I now perform mainly in English, I check whether it resonates with audiences in the US or UK too. After 14 years of comedy, I’ve realised these parameters are essential. Also, things change as the world changes. For instance, I’ve included bits about the wars happening globally, even a small set about the four-day India-Pakistan war — because the show has to feel current, not outdated.
You combine personal stories with social observations. How do you decide what to keep private and what to make public?
Most comedians share their private lives on stage in some way. We’re often introverts, but it takes guts to expose vulnerabilities and talk about them publicly. At 57, I can’t hide my age, so I joke about it. Every comedian has a style, but personal stories are what really connect with people. Of course, we don’t reveal everything — when something deeply personal does come out, it’s “shallow-fried,” told in a way that makes the audience feel, ‘oh, this happens to me too.’ That’s where the bond forms.
Do you think your comedic voice has shifted throughout your career?
Definitely — it has matured. When new comedians start out, they often talk about their names, appearance, or basic traits. But over time, as you watch others and keep performing, your voice and point of view evolve. You learn what’s sensitive and should not be joked about, and you think through material more carefully. I also adapt for international audiences by slowing down, clarifying cultural references, and explaining context. Looking back at my old material sometimes feels like reading something silly I wrote as a child.
You started when stand-up in India was just on the rise. From then to now, how have opportunities and expectations changed?
The biggest change has been the mobile phone. In the last decade, entertainment exploded onto our screens — you get content pushed to you all day without asking. That means when people come to see me, I have to be more entertaining than their phones. Otherwise, they’ll think, reels are funnier than this comedian (me). So writing has to be sharper, fresher, more evolved.
Another change is that now everyone has a voice. Audiences immediately post reviews, even in the middle of a show, if they’re not entertained. That accountability didn’t exist before — it makes things tougher but also more exciting.
What’s one core principle that guides your comedy?
Relatability. Comedy in India is still young — just 14–15 years old. So many audiences are still experiencing live stand-up for the first time. When I ask at my shows, even in big cities, 20–30 per cent of hands go up. That means our responsibility is to handhold them into this art form, not scare them away with overly dark or complex jokes. You keep it easy, relatable, and enjoyable, so that next time they think, ‘we had fun, let’s try comedy again.’ That’s how we build a culture around live comedy here.