What are the themes of your play?
The show’s themes are definitely rooted in Black-Queerness, classism, and what it means to be an amalgamation of all of those things in an Entertainment Industry that is built to shut out and silence people like you.
Why did you write it and why now?
I wrote this play as a way to reflect on and process my own experiences working in Live TV and the Entertainment Industry. I saw a lot of behaviours and mindsets that we as a society had promised “never again” and to call out, get swept under the rug and turn a blind eye to. I fell in love with the idea of this play being a warning shot in the year of 2025, making people aware that things we consider to be in the past and dealt with, are still very much happening in front of our own eyes, and we can only put a stop to it once we choose to swallow the bitter pill of acknowledging it for what it is.
Which playwrights are you influenced by and why?
I’d definitely have to say Travis Alabanza firstly. They were the reason I was inspired to write my debut play. They always find a way to shed light on the more niche parts of the Queer Community which I think is really important. I remember going to see their show ‘Overflow’ at the Bush when I was in Sixth Form and just being blown away. Valerie Mason-John is another one. She wrote a play called ‘Sin Dyke’ which focuses on the experiences of Black British Lesbians in the 90s. Michaela Coel – she just knows how to represent London right. And Jeremy O. Harris is another – he’s Black, Queer and intellectual, all the things I aim to be. I think you’re starting to see a common theme here!
What do you hope to achieve as a playwright?
Well, I’m still very early in my career so I’d definitely say finding an agent and possibly getting commissioned are things I’d like to achieve in the short term. Long-term, I want to continue to create bodies of work that unlock spaces and movements for Queer People of Colour to truly express themselves and create art that we haven’t seen before.