Sitting in the auditorium at Birmingham Rep with my 12-year-old daughter in anticipation of watching the premiere of Floella Benjamin’s Coming To England ...

I couldn’t help but think about the controversial decision The Rep made by hiring out their spaces to the Ministry Of Justice for court cases during lockdown. The “purely financial decision” sparked outrage, with many locals claiming the decision had alienated audiences and stopped The Rep from being a safe space for the oppressed and marginalised especially with the overrepresentation of black people in the criminal justice system due to racial bias and institutional racism.

As a result, at the end of 2020 Talawa, one of our leading Black theatre companies cancelled their major partnership with The Rep due to the backlash [read Talawa’s statement via The Voice Newspaper]. Birmingham Rep declined to comment on Talawa’s decision, though it previously said it is “doing our utmost to fight for the survival of The Rep and we sincerely wish we weren’t in these extraordinary circumstances“, and, “We made a decision that we believe to be in the best interests of the theatre facing a very serious situation to which there are no easy answers...” [more on the story via bbc.co.uk].

Back to the matter at hand, when I see a musical about a black woman, with a black director (Omar F Okai) and majority black cast I shouldn’t have to question The Rep’s Statement. However sadly after watching Okai’s 84 minute production of Coming To England, I am not at all convinced this show is for “us”. 

The production is David Wood’s adaptation of Baroness Floella Benjamin’s book Coming To England – first published in 1995. The true story follows a young and hopeful Floella Benjamin migrating from Trinidad to the ‘mother land’ in the 1960’s, when West Indians were invited to move to England to help rebuild the country after the WWII.  The musical focuses on Floella’s discovery that England isn’t as welcoming as she expected but instead a place where West Indian people had to experience hate and hostility.

Despite Bretta Gerecke’s simple yet functional set, it often looked bare and swallowed up on The Rep’s vast Main stage. Gerecke’s lighting was unable to capture the vibrant colours of the Caribbean, which resulted in hardly any difference between the sunny shores and blue skies of Trinidad to the dreary greyness of England. 

Okai’s production doesn’t get a lot of things right however it does showcase some considerable talent among its cast. Paula Kay as Floella earnestly tries her best with monologues almost as long as a Shakespearean sonnet but read like a work presentation plagiarised from Wikipedia. At times I questioned whether I had accidentally walked into a Ted Talk at Birmingham Conference and Events Centre and not Birmingham’s most prominent theatre. Sadly the protagonist is just all too perfect and there just isn’t enough vulnerability for us to form much empathy. Kay’s overabundance of emotion for Floella’s plight of racism, doesn’t connect because she repeatedly declares that her smile is her impenetrable armour … without any sense of irony.  

Kojo Kamara and Bree Smith as Floella’s parents are uniformly magnificent. Smith brings such warmth to Marmie and absolutely soars in her number “The End Of The Tunnel”.  Kamara blazes as Dardie, enormously charismatic, with an indomitable emotional strength. Whilst also managing to deliver beautiful jazzy scores on the saxophone.  All the actors perform their roles vigorously despite none of their characters ever rising above being two dimensional or caricatures.

Part of the Coming to England’s problem is that it just doesn’t know whether it’s a musical or Theatre In Education.   The staging just doesn’t follow the structure of modern children’s theatre. There is far too much going on during scenes, with the family house relentlessly wheeled on and off whilst there is action on stage. 

Benjamin and David Wood highlight the clearly displaced fear and illogical racial hatred which many mature children could understand. Then they shoehorn in infantile CBBC-esque songs like “If You’re Happy and You Know It” and “She’ll Be Coming Round the Mountain”.  Which show a clear lack of understanding of the fast maturing modern day children from Benjamin’s 1970’s Play School days. 

The Baroness herself came up on stage towards the end of the show and proclaimed that “this is a story that hasn’t been told before with such truth and honesty”. However, with the sensational stage production of Andrea Levy’s Small Island running at The National Theatre, this is an incredibly a brash claim.

Coming To England could be a first in documenting the Windrush through the eyes of a child for children. However, I’m sure children would benefit more from having more fleshed out characters and being taken on an epic journey. 
The more sinister and insidious concerns that poke their way to the surface are lost in the musical’s messaging. Acknowledging historical legacies of colonialism in the UK needs to be done delicately and skilfully. Benjamin has done tremendously well to become a television favourite of the 70’s, businesswoman and appointed to the House Of Lords. However, where I can consume the older generational antidote “You have to work twice as hard as everyone else”, to claim that she smiles at the face of racial adversity because “winners smile” is problematic and needs challenging.

Kay’s Floella had a tough task getting audience participation from adults in the audience. I wanted to shout out “What about your mental health?” When yet again Benjamin was talking about her smile which then followed into a rendition of Nat King Cole’s Smile. I suggest The Baroness take a read of Langston Hughes’ Poem, Minstrel Man –
“Because my mouth is wide with laughter and my throat is deep with song, you don’t think I suffer after I held my pain so long.”

Having a smile of amour after experiencing grim scenes of racism is remarkable especially in post-war Britain. However, when my 12 year old daughter turned round and said to me “Daddy we don’t smile at racism” I’d recommend that this messaging is outmoded in 2022.

Coming To England appears to be Birmingham Rep’s Theatre’s drive to put black bums on seats and repair distrust, no matter how the low calibre or dangerous of a message. 

Guest review of Coming to England is by Devonte Jones.

If you’d like to share your reviews please get in touch via info@thebritishblacklist.com

Coming to England is currently showing at the Birmingham Repertory Theatre until April 22nd. Find out more here

I try to convince myself I’m still in my dreams, as my alarm nudges my earthly senses, now chomping at the bit, heralding another brisk morning.

My duvet says, ‘Don’t get up, remain enveloped’ but the wake-up siren has dutifully ignited a chain reaction of consciousness fervently sparking through muscle memory in my body, telling me that I ‘moved’ too much yesterday. So, I reach out to check in and feel with my fingers a song of redemption wailing in my left thigh, alternate hues of sensation encircling the base of my neck, near my shoulders and the muscles knitted to the length of my spine on either side, jealously guarding secrets from each other as to who stretched out the most in accordance to Shane Shambhu’s movement suggestions.

It’s winter here in London and the mornings are sharp and crisp. This is the time of year when I value a bowl of hot porridge and sultanas and for added fuel and energy, a banana and almond nuts are thrown into the mix. A coffee to invigorate the senses and tell me what day it is, is essential. I’ve used up all those green beans I had on order, that I usually roast in a skillet to make the freshest batch of coffee with. I make do with grinding some ready-roasted bought from my local supermarket.

As I sip hot bitter brown liquid in anticipation of today, I find myself reciting a particular section of script that I was oddly nuancing yesterday. My directors hadn’t said anything, though I felt it was not quite sitting right in my head, nor my mouth. I’m not quite feeling the nature of its structure. The coffee cannot stimulate an answer as I ponder why this is.

It’s obviously to do with tone and cadence, the way I’m saying it. I want to find the core arc of this amalgamation of precise sentences and what it’s saying overall as a metaphor. I can’t yet find the mechanism comfortable enough to express both meanings simultaneously. If it’s there, then my audience deserves to hear it, to feast upon it when they’re finally sitting in front of me. Yes, it’s got a profound double meaning, if not, one that is triple barrelled. The third is personal to me, I’ll keep that one and I’ll raise this conundrum with the other two when I get to rehearsals. It’s important.

My folded Brompton bike lies sleeping in the hallway, I break it open and free the squeaks from the hinges and we’re ready to navigate the morning rush hour. I’ve always been an ardent bike rider. I recently toured the UK in Barber Shop Chronicles and my iron horse was my trusty steed, getting me from digs to theatre and back again. Moreover, it’s my morning and evening workout. It warms me up before a show or prepares me for rehearsals. Either way, it gives me a positive energy boost. As a physical actor who trained in dance, drama all those many moons ago, the iron horse has been a reminder and a gauge as to what I’m still able to consider doing physically. I use the word, ‘iron horse’ as it comes out of Nobel laureate and playwright, Wole Soyinka’s script, The Beatification of Area Boy, in which I had the honour to perform in front of my father in Nigeria so long ago. It made a huge impression on me then and befits this blog now.

I’m currently working on Conundrum, written and directed by my friend and colleague, Paul Anthony Morris, Artistic Director of Crying In The Wilderness Productions (CITWP), of which I’m also a company director.

The play is full of joy and pathos and requires energy, lots of it, both mental and physical. My character Fidel goes through a review of his life, wondering if or how much he’s been complicit in his own demise and if he could have done better within the given structures of modern society. He’s looking for relative answers and makes extraordinary discoveries. It’s an incredible script with an extraordinary character and I’ve been given the opportunity to play him.

It’s demanding and in resurrecting it again from last year’s postponement, due to the pandemic, it has risen like a phoenix, branded in fire and wanting. It’s a story that seems to want to lend itself to the current zeitgeist.

Movement Director Shane Shambhu has been brought back once again to put me through some finite paces, utilising an extraordinary choreographic discipline that I’m not sure I can truly follow, for he makes, what I’m struggling to capture from him, sublimely effortless.

My top is welded to both my chest and back in sweat and when I stop, the room temperature of the studio begins to feel incompatible, so I shudder and seek the warmth of an extra layer. My lightweight down-feather jacket does the trick until it’s time to work through the movements again, this time with more accuracy and finesse, please. No pain, no gain, I guess. C’mon body, wake up, you can do this!

It’s wonderful to have Shane instructing me again, brought into the process that sees him and my incredible team of creatives weave an expansive universal cocoon around me.

I feel fortunate to be working alongside such an ensemble of artists, including another dedicated actor, Filip Krenus, making his cameo role effective in a crucial scene.

A welcomed pause comes at lunchtime. The lunchbox I prepared last night has a wealth of nutrition I can’t wait to savour. Balsamic vinegar and a good drizzle of cold-pressed hemp seed oil dutifully lacquer’s an integrated melange of salad leaves. Crunchy iceberg lettuce dances with rocket, spinach and watercress, then grated carrot and spicy beetroot, who give a nod to pumpkin, flax and sweet sesame seeds. Coriander is in there too, Himalayan salt, grated black peppercorn and some fresh thyme that I picked up from an east end market stall yesterday. All are accompanied by verdant chunks of avocado and just half a silver-streaked fillet of mackerel. Atop, in another compartment, lie three plump strawberries (Erdbeeren or Earthberries in German) and a small pungent bunch of floral-scented black grapes. A carton of coconut water replenishes what I’ve lost in sweat and thought; the essential electrolytes much needed for this production process.

Lighting designer, Jack Weir, has come in today and sits primed, heady with ideas and constructs. It’s a delight to hear his accompanying vision, on top of which there are added extras. I worked with him before and know his ‘brilliance.’ Pun intended.

Renowned set designer, Sean Cavanagh, calls in over a visual computer platform and shows us addendums in mock-ups to what he’s primarily constructed as my stage platform. His set is an accompanying narrative to that of my character, and I can’t wait to immerse Fidel within it. Sean’s even gone as far as to invent his own calligraphy that bridges the entire narrative in graphic visuals. Ha!

Florian Bel, our sound-scape designer, an unassuming and exceptionally bright young visionary in his own right, has filled the atmosphere of Fidel’s confines with an otherworldly cosmic resonance that sits sublimely in one’s headspace.

Angela Akaette Michaels, our Associate Director, together with Paul, tailors my character with a sharp eye that cuts away any excess and infuses the scenes with finite natural essence. She’s brilliant.

If I’m having my own conundrum here, it’s trying to figure out how all this has come about; an alignment of creative stars as bright as each other and with their own stupendous glare. And thus, who am I? I feel emotional at best, overwhelmed and know I have to honour such craftmanship with what I too can and must bring to this sumptuous table.

Paul stands at the helm of this ship, steering an adventurous multidisciplinary journey that we are all embarked upon. Though I’m still slip-sliding across the deck, I know I’m on a worthy vessel whose sails favour the winds of capture. I’m just halfway to getting my ‘sea legs’ and though it feels daunting, knowing the journey is arduous, I’m confident a firm footing will develop and plant me where myself and my character need to be.

The openness I have with Paul Anthony Morris as my director allows me to state declarations or doubts so as to find the rationale I need for my purpose and especially that of Fidel.

My deliberation with Paul and Angela today, led to us navigating through choppy whirlpools of thought over this current set of paragraphs that I’m having issue with.

I voice my dilemma over this section of the play and so begins, as usual, a sharing of intuition-like instincts and stories of life, at times in full anecdotal mode. Still, the issue remains stubbornly immovable at an apex in its dark chasm. Perhaps it’s calculating the worthiness in the meditations we’re having.

Sometimes language doesn’t seem to readily want to translate thoughts and vice versa. It seems to be yet another conundrum that sits compounding the commonality of the situation.

Paul then says something arbitrary that sees the obstacle inside my head shift and recalibrate itself like a Rubik’s cube unravelling and suddenly, that which remained mysterious, explodes into a myriad of random yet perfect colours and I witness a latent image of understanding emerging into view on the photographic paper of my mind.

Reciting that wedge of script again now finally sounds and feels true, its nuances no longer restrained but instead aligned and illuminated for the purpose of its double meaning. And it’s wonderful. I feel it now in my very being with enough honesty to honour Fidel and this noble character’s journey.

My ‘sea legs’ become somewhat sturdier on deck, enough to feel a restorative breeze of calm competence. I could tell you true anecdotes about the sea in Ireland in which I swam as a child, near where my mother was born in Waterford. The smoky rapture of bog peat burning in an open hearth and the briny sea breeze, assail my senses still and sweetly lend themselves here, making me what I am, a searcher.

Tomorrow’s daybreak will no doubt raise another encounter in the search for Fidel and it will be only right to ask my directors once more, ‘Who am I?’

Conundrum will perform in the Maria Studio at the Young Vic Theatre in Waterloo January 14th to Feb 4th 2022. Conundrum | Young Vic website

A Day In The Life of A Black British Artist By Michael ‘Bagsy’ Oladele

Tea or Coffee? That’s the herculean choice I have to make every morning when deciding what to have with my King like breakfast. They say we should eat like royalty in the mornings, so I try to. A bowl of oats with hot milk topped with sliced bananas drizzled with honey or, a handful of raisins; a touch of cinnamon, two slices of wholemeal toasted bread with peanut butter or a high protein chocolate spread, some chopped fruit and a protein bar.

Breakfast is a whole mood baby.

There is a glass of apple or orange juice to wash it down and then the big decision, Tea or Coffee. What’s your go-to choice? In fact, I think you should make a tasty brew for yourself, it’ll go well with this read. I’m an early bird and I like to train calisthenics, weights, and cardio at my local gym in East Croydon before breakfast.This morning chef special happens after I come back from the gym.

Let me properly introduce myself, I’m Michael Oladele also known as Bagsy. I am a Black British performing artist from south London, and I eat, train and think like an athlete. If you didn’t know already, dancers are athletes.

Dance is my life. Especially Waacking.

What is Waacking? It’s a dance from the 70’s born in the gay clubs of LA, performed to disco and funk music. It normally comprises of fast arm movements, powerful dynamic technique, emotional performances, and the dramatic emulation of 1950’s actors. Think Gene Kelly, The Nicholas Brothers and Cyd Charisse dancing to disco in the club. It is fierce.

This dance has helped me see so much potential in myself, it’s helped improve my character, become much more open minded and grow in confidence seeing the value in my self-worth. Most importantly it has helped me become more of a man a better human being. Emotional, compassionate, unapologetic, vulnerable connecting with both male and female energy.

Since becoming more busy with dance work, judging competitions, lectures, performances and teaching opportunities I decided that if I am to take this career seriously, I’d have to make changes to my daily routine and that meant looking to Olympic athletes for training regimes and inspiration. I do love a good box of spicy chicken wings and the ‘occasional’ gourmet burger though. Don’t judge me.

Back to my schedule. With breakfast comes a good Japanese anime series relentlessly watched with zen focus trying to pick out the many hidden life lessons per episode. Did I mention that I watch anime without subtitles? I speak Japanese fluently. I used to live in Japan for 4years teaching Mathematics and English in schools across the country. Whilst there I forged my path as a dancer and choreographer learning from the world’s best in Osaka.

Documentaries, fitness training videos, martial art tutorials and a plethora of dance footage is something I also watch daily as I’m not only a dancer, but I teach dance, I’m a professional dance competitor, screen combat artist, stunt performer, model, actor, choreographer, creative director and fitness enthusiast. I do what I can to facilitate my abilities and constantly develop them.

I’m a big reader too, non-fiction mainly learning about the mindsets of not just great athletes but great business minds too. Think and Grow Rich, How to Make Friends and Influence People, How to stop Worrying and Start Living, The 5 love Languages, Viewpoints, Race and Class in the Ruins of Empire, The Power of Now and one of my all-time favourites Body Mind Mastery. All these books are inspiring and engaging to read learning about myself, how people think and act and importantly react to situations that leads to their enlightening success.

It’s afternoon now and I’m probably either teaching an online class or a private session with clients in person, doing administrative work, getting ready for rehearsals for a show, creating content for my social media or preparing to go to my evening training.

This weekend I will be performing a solo piece at Sadler’s Wells Theatre on 3rd and 4th July for Breakin’ Convention hosted by the world renowned Jonzi D. It’s called Surrender and tells part of my journey as a dancer discovering who I am as a man born in a world filled with endless expectations, animosity and challenges faced in the creative industry, and the ability to accept all that you are in the pursuit for self-love. It really isn’t easy forging a successful career in dance but that’s the beauty of the story.

Being an artist is a full-time job, non-stop around the clock. You are your own: publicist, accountant, nutritionist, marketer, trainer, designer, investor and manager. You have to put the work in, you have to stay ready. I try daily, it’s not easy but the rewards are fantastic. I’ve always believed staying relevant and active in your industry is vital for longevity even before the pandemic. My daily ethos goes: If people don’t know you nor see you, they can’t follow your work or even give you work. Networking is vital, reputation is everything.

So, my mornings are for conditioning the body, afternoons for growing the mind and building the empire, and my evenings are for feeding the soul training in my craft – acrobatics, martial arts and dance. They are all connected in movement and mindset and thus help develop my character and strengthen the skill sets.

My evening training is complete, serotonin levels high and I’m on my way home listen to music that makes me feel like a superhero or I’m thinking about choreography or the next big project. Before I end my day relaxing watching an epic drama series, I do my best to call my mum.

I like to check-in on mum. I don’t get to see her often because of the nature of my work so it’s nice to simply say good night or hear her gossip girls’ stories about work or church. Even though my mum didn’t quite like me becoming a performing artist I am very close to my mum after all she was the one who gave me my first beat to dance to, in the womb, to her heartbeat. So technically it’s mum’s fault I’m a dancer. Just saying.

So that’s it, a day in the life of a dancer, loosely structured filled with goodness and rich content with a plan that’s organic and malleable. Anything can change that is life, but as long as I stay positive, keep active both physically and mentally there will always be something to gain from the day. We have to celebrate the small wins, create micro goals, rest, reflect and simply continue learning from the greatest class on earth.

Breakin Convention: Breakout Convention is on 3 & 4 July at Sadler’s Wells, find out more and book your tickets here.

Bagsy performs on both nights, follow him on @bagsyofficial

Since making her screen debut in 2014, writer, actress and comedienne Linda Hargreaves’s stature on stage and screen has blossomed considerably.

Previous TV appearances include roles in ITV’s Vera (2016), Channel 4’s Raised By Wolves (2016) and BBC’s Golden Globe Award-winning drama series Bodyguard (2018). In her most recent TV role, she plays Carla in Aisling Walsh’s mystery drama, Elizabeth Is Missing. We spoke to Linda about her role in the highly acclaimed BBC production and discussed her acting career.

Introduce yourself …

My name is Linda Hargreaves and I am an actress and comedy writer based in the West Midlands.

You play Carla in Elizabeth is Missing. Can you tell me about the character and what in particular struck you about the story and made you want to take the role?

Carla is the carer for Maud, the main character, played by Glenda Jackson. The script is a screen adaptation of the best selling novel, Elizabeth Is Missing by Emma Healey. I hadn’t read the book when I was cast in the role, but I was really pleased to play Carla as she’s a character with great warmth and wit. I’ve now read the book and would highly recommend it. I think it’s an absorbing detective story that deals with the subject of dementia in a quite remarkable way. I particularly liked the way the mental decline of the main character was so skilfully written, including elements of ‘dementia humour’.

Carla is a local authority carer who visits daily to prepare meals for Maud. She’s constantly on the go with a limited amount of time to spend with Maud, although she tries to sit and have a chat with her most days. Although Maud is one of several clients on her overstretched round, Carla is fond of her. Carla is very upbeat and cheery which I thought worked for the character, particularly as Maud is usually quite solemn and grumpy with her. I tried to bring out her ‘matter of fact’ humour, which was often lost on Maud.

This movie explores friendship, single-mindedness and a woman’s struggle with dementia. Who do you think will get the most out of this movie and what message does it convey?

I think that this film will appeal to a universal audience as, regrettably, dementia is becoming increasingly common, impacting lives regardless of creed, colour or wealth. Because of the subject matter of Elizabeth Is Missing and the excellent writing, I’m sure that this film will stimulate conversation and debate about dementia and associated conditions of mental decline.

You’re very well known for your comedy but you’ve also played in some serious roles. How easy or difficult is it to adapt to the various genres and switch between the genre types?

Gosh…I don’t know how to answer that, really! I just, think about it… a lot, and then… do it! I’m not sure that I even consider genres, too much. I am more focused on finding the character and making that character believable. I think acting is about being fearless and bold and having the courage to try out ideas for characters. If something doesn’t work, then you’ll know yourself or you’ll be told by a director.

Which genre do you feel most comfortable with?

I’ve had some lovely straight acting opportunities on screen which I’ve really enjoyed but I would always have to concede that comedy is my ‘comfort zone’. I can’t think of many things more satisfying than knowing that you’ve written and/or performed something that has made people laugh. And character comedy, in particular, is my forte. As a performer, I think there’s something quite protective about putting outrageous and irreverent words into the mouth of a larger than life character. I think I enjoy doing character acting because it’s an opportunity to play brash, brazen audacious people that are (hopefully) a million miles away from me. These larger than life characters are fascinating, engaging, charismatic and often hilarious. I’m not any of these things!

You’ve worked with a number of male directors including Thomas Vincent, Robert Mullen, Marek Losey and Vitaliy Shepelev. What was it like working with Aisling Walsh and did having a female director bring anything new to your experience as an actor?

Well, I need to start by saying that all of the directors I’ve worked with have been great; very approachable and helpful. Aisling Walsh was lovely to work with, we talked a lot about the character I was playing and she shared her thoughts with me on how she thought Carla should be played. I really enjoyed working with her.

This is a production that is now known as much for Glenda Jackson’s return to TV as it is for the subject matter it explores. What was it like being a part of the production that marked her return?

Well, I was very excited just to get an audition for this project! I’d admired Glenda Jackson’s work for a long time. When I was given the part, I was thrilled to find out that I’d be playing opposite her in our scenes. On-set, Glenda Jackson was absolutely lovely and very, very funny. A real delight to work with. There’s quite a bit of sitting and waiting on a film set and on more than one occasion when we were waiting for shots to be set up, so I couldn’t help thinking to myself that I was sitting in the sunshine and having a cup of tea with double Oscar winner, Glenda Jackson!

What are your plans for the future and will we be seeing more of your comedic characters; Tish Tushington; Shyrell Torks and Mrs. Kendrick?

Plans for the future? To carry on seeking good acting roles. This business is very tough and not for the faint-hearted, but I’m here now, and I’m not going away! And yes…there is much more to come from my comedy ladies Tish Tushington, Shyrell Torks and Mrs. Kendrick. I’m busy writing new material at the moment. I spend such a lot of time travelling, for work and auditions, that I often have to put my writing on the back burner. It’s purely a time thing.

What has been the most memorable moment in your career?

Working on the movie Mad to be Normal was quite special, as I got to work with the likes of David Tennant and David Bamber amongst other notable actors that I admire. However, being part of the cast for The Lost Hancocks has been my most memorable moment to date. A superb comic script, a great cast; it was my dream gig.

Elizabeth Is Missing is available to watch on BBC iPlayer. Find out more here

Interview with Linda Hargreaves by @Mkuu_Amani

Where do I begin? This movie will smack your candy astrophysics book.

Action? Check
Banter? Check
Cars? Duh!
Bikes? Double-check
Nostalgia? Oh, check
Things that make you go ooooh? Check

Directed by David Leitch (Deadpool 2) there are so many things that were done right with this movie that I can’t say much without giving spoilers. I will say this though, Hobbs and Shaw, chalk and cheese but they make a good team. Dwayne Johnson returns as Fast & Furious favourite all American hero ‘Luke Hobbs‘, he is joined by ‘Deckan Shaw‘ (Jason Statham) British gangster turned good guy. The duo is instantly Johnson’s best on-screen partnership in his film career. The constant digs and playground insults not only have you keeping score but also have you laughing out loud.

Idris ‘Big Driis’ Elba plays arguably one of the franchise’s greatest villains “Brixton”. Brixton is the perfect 2019 bad guy using his powers of tech and super swag for evil. Elba does action very well and this is no exception. He also has some of the coolest lines ever dropped in a Fast and Furious movie.

As a spin-off it’s clear to see Hobbs and Shaw had more freedom than the other movies. It is easily the funniest, whilst keeping the Fast and Furious theme of unbelievable stunts and action sequences that you have to suspend your disbelief for but that’s all part of the reason we love the FF films.

I’m really excited to see where they take this especially as they have obviously left it open for sequel and F9 is in production right now. If you haven’t seen the previous 8 then don’t worry Hobbs and Shaw works as a stand-alone. So watch this… then go and watch the previous 8, and then watch this again!

Review by Ace DJ

Hobbs and Shaw is in cinemas now!

Firstly, if for some inexplicable reason you haven’t watched Endgame, do not even watch the trailers for Far From Home until you have.

Secondly, It is REALLY hard to not spoil moments of this film and be in depth… but here goes … Spiderman: Far From Home (SMFFH) had a big problem. Its proximity to Avengers: Endgame was always going to present a difficult prospect for Marvel and Sony. No matter how excited everyone was for the Homecoming sequel, it being set for release in the gigantic shadow of Endgame, meant it was always going to feel like a bit of an afterthought. Luckily, that is far from the case, in fact, SMFFH flirts with being one of the best Marvel films yet and an absolute jaw-dropping ending gives Marvel’s Phase 3 an emphatic finish.

In the wake of all the finger snapping in Endgame, we find our titular (Tom Holland) hero out of sorts with the world. His desire to do good and understanding the weight of responsibility being thrust upon him are starting to weigh on him. Luckily his school Science club field trip to Europe may just help him get his life back on track. He can profess his love to quirky MJ (brilliantly played by Zendaya), have fun with his friends and forget all of the pressure he is under in NY. Or so he thinks.

Nick Fury (Samuel Jackson) is trying to get in touch with him and Peter keeps ignoring his calls. Feeling a bit like Chevy Chase’s National Lampoon Vacation films the first 3rd of SMFFH skips along with light-hearted fun and hi-jinks. Then, things start to get serious once we are in Venice. Attacks by “Elemental” creatures spring Peter into action until the alien “Mysterio” intervenes and helps to save the day. Working with Nick Fury to stop these creatures and keeping his holiday fun and MJ out of a rival’s clutches becomes more and more challenging as the film goes on.

Can the Elementals be stopped, will MJ fall into the arms of another, Who is Mysterio? Sadly this is pretty much where my review has to stop without saying too much. Holland’s youthful exuberance makes him still the best Spider Man we’ve ever had. Zendaya is great as the slightly nihilistic, awkward MJ and has arguably some of the best lines in the film. Her subtlety is a perfect foil for Holland and she matches him in the vulnerability stakes. Jackson does snarled Nick Fury as only he does but a film is only as good as its villain and Jake Gylenhall hams it up superbly. Much like Keaton in the film before, he is focused and will not allow anything or one to get in his way. At times he even seems goofy but it weirdly adds to the complexity of the character.

There are a ton of subtle references as to the next direction of Spider Man and the Marvel universe at large to keep all the comic book nerds happy and of course, visually it is stunning. Some of them are truly mind-bending.

By no means is Spider Man: Far From Home a perfect film, and it’s a tough call between this and the previous Homecoming, but it’s not far off. Great set pieces and a truly engaging story make this the blockbuster of the summer.

Review by Nigel Mark of Glassmates

Spider Man: Far From Home is in UK cinemas now.

Historically mental illness in the Black community has been a taboo subject.

Often shrugged off and seen as a sign of weakness in both men and women, there tends to be a lack of understanding regarding mental health amongst our friends and family, in a cultural and socio-economic context.

However, in recent times conversations around mental health are becoming common. With more light being shed on how to deal with it without ridicule. Organisations such as Black Thrive (a partnership for black wellbeing), Time to Change, and Mind (the mental care charity) all offer programmes and projects that support our community.

But the conversation is not just being left there, many of our creatives in music, theatre and film have begun to share our stories and experiences with mental health and one such person is actress, producer, and writer Annabel Grace who has recently addressed mental health in her film ‘In the silence‘.

In the Silence tells the story of a couple, young and in love, Maria and Eric who have the perfect relationship, or at least they did. When Eric returns from a military tour of Afghanistan, he’s not quite the man she fell in love with. Traumatised by his experience of war, Eric struggles to adapt to civilian life.

We caught up with Annabel to discuss her latest project …

Introduce yourself …

My name is Annabel Grace and I’m an actress, producer, and writer. I’m West London raised, mostly between West and North West. Mixed with some Jollof from Nigeria and English apple crumble.

In ‘In the Silence’ you are addressing mental health in the black community, what kind of conversations do you hope to spark?

Organic conversations where people feel safe to share their experiences or ask questions. A lot can be learned just from listening. The more organic conversations that are generated, the more awareness is being built.

How did working with director Ethosheia Hylton come about?

My friend Maia Watkins told me about her work, and I reached out to her. It was just so refreshing to have a conversation about the script and her work. Ethosheia also understood how important representation is and that we could creatively deliver a message. And on a personal note, I was excited to be working with a female black director.

Why was this story important for you to tell right now? There are many mental health problems, was there any particular reason for tackling PTSD?

My interest in PTSD stemmed from my friend’s story. He opened up about his traumatic battle with PTSD and shared stories of his friends who had come back with similar stories or worse. It touched me that he would share his struggle with me, and it got me thinking that we don’t know what someone is dealing with behind closed doors and this subject isn’t talked about enough. It’s a huge issue and in severe cases, there are disproportionally high numbers of men and women committing suicide.

With In the Silence, my co-writer and I wanted to tell a story that focused on the relationship dynamic and how both people are affected by the early symptoms of PTSD manifesting. Those lucky enough to have a support system of friends, family or a significant other shouldn’t be ignored either, as they can be affected as well. Often support networks are the first to face some of the symptoms. By telling our stories, we can start to change the narrative and hopefully encourage others who are experiencing similar issues.

Are there any works with similar messages which had a strong impact on you?

At the time no specific works influenced me. It was the research, the shocking statistics, and the discussions prior to and while writing the script. But now, a lot of work has come out that I need to catch up on and watch which is great!

Does your work as an actress influence your writing or vice versa?

Yes very much so, I am drawing from personal experiences and writing has become a way to channel my creative outlet.

Did you plan to take on the role of Maria during the writing stage?

Yes, kind of but we were more focused on the script at that stage.

Similar to Maria, many loved ones expect those they love to return from war unaltered. Do you feel Maria’s expectations of Eric were realistic considering, what he had experienced and had to adjust to a completely different way of life?

I don’t think Maria or any loved one can fully comprehend what Eric or their loved one has been through. In terms of this story, In The Silence, they had been living two very separate lives for a while, so there is a bit of disconnect between them, but Maria knows her man and she knows something is up. At the same time, Maria just wants everything to go back to normal, so it’s partly living in a daydream until the reality of the situation kicks in.

Is there still a stigma regarding mental health in the black community? If so how taboo and damaging do you feel this is to us?

Mental health isn’t seen as a priority. Stopping people from speaking out and brushing it under the rug, by not even addressing that it is an issue. Part of the solution is that we can equip ourselves with more knowledge, to ensure that as a community we are talking about how we can deal with our mental health. We need to be more aware, more supportive and realise that these are very common human experiences we can all learn from, instead of it being negative, we turn it into a lesson.

Traumatic experiences can happen to anyone, however, people in urban areas are far more likely to experience these events yet far less diagnosed. Do you think there’s a numbness/resilience embedded into the culture or is PTSD being ignored and going undiagnosed?

Speaking from my experience and the wider conversations that I’ve had, yes, there is numbness/resilience embedded which is this attitude to not say anything. So whilst everyone’s traumatic experiences are different, I do know that not talking about it doesn’t help. But the person also has to feel ready to do so, and we have to remember that everyone’s healing process is different.

I would say these issues are starting to be highlighted a lot more, but we have a long way to go with waking up and accepting that these things are happening around us. In regard to working-class areas, it is easier to be ignored or passed by, so people are more likely to feel they don’t matter or aren’t being represented within the conversation. In this situation, it’s often much harder to open up about your trauma. There is still a strong lack of trust towards services because of how black people have been mistreated. It would also be remiss to not mention the obvious that racism can be a factor.

Do you think the stigma around mental health in black culture is the same for both black men and black women?

Yes- I think it diminishes self-esteem for both black men and black women and how they are perceived.

The title is self-explanatory but why do you think silence is such a contributing factor in the development of PTSD?

Fear and misunderstanding pay a big part but I think it’s a combination of the person trying to come to terms with it first by themselves, and that silence from the person living with PTSD means that they end up internalising the problem. Then there are others who aren’t aware of what is happening and are not discussing the changes they may be observing, so the situation continues on in silence which could result in a bigger issue later.

What is next for you?

I have a couple of scripts in development which I’m excited about, and when the time comes I will be more than happy to share it with you!

Interview by Lisa George.

In the Silence is currently with various film festivals, updates can be found via social media page: In the Silence

Rising star Leah Harvey takes a leading role in the National Theatre’s production of Small Island.

Adapted from Andrea Levy’s Orange Prize Winning novel Small Island follows the journey Jamaica to Britain, through the Second World War to 1948 – the year the HMT Empire Windrush docked at Tilbury.

Adapted for the stage by Helen Edmundson, Small Island follows three intricately connected stories. Hortense yearns for a new life away from rural Jamaica, Gilbert dreams of becoming a lawyer, and Queenie longs to escape her Lincolnshire roots. Hope and humanity meet stubborn reality as the play traces the tangled history of Jamaica and the UK.

Leah stars in this epic production as ‘Hortense‘. TBB’s Kojo Kamara spoke to her to discover how she approached developing the character …

Small Island runs at the National Theatre until 10th August 2019. Find out more here. 

Godzilla: King of the Monsters is in UK cinemas now and we caught up with none other than O’Shea Jackson. Star of Straight Outta Compton, Den of Thieves, and Ingrid Goes West.

In the latest installment in the Godzilla narrative, this story is as follows: Members of the crypto-zoological agency Monarch face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species-thought to be mere myths-rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.

Directed by Michael Dougherty who also co-wrote, Godzilla: King of the Monsters also stars Stranger Things star, Millie Bobby Brown, Anthony Ramos (Monsters and Men) and Aisha Hinds (Underground). Son of legendary rapper Ice Cube, O’Shea plays ‘Chief Warrant Officer Barnes’ part of a unit set to take down the latest Godzilla threat.

TBB’s Sheena Tenkorang found out more …

Godzilla: King of the Monsters is in UK cinemas now.

Martina returns to Theatre Royal Stratford East following Shebeen in 2018.

Her stage credits include Shebeen (Nottingham Playhouse/Theatre Royal Stratford East); Shakespeare Trilogy (Donmar Warehouse); Moon on a Rainbow Shawl (National Theatre/Talawa Theatre Company). Her television credits include EastEnders, Blitz, Casualty, The Bay, Epiphany, Jericho, The Dumping Ground, London’s Burning, Shameless, The Bill and Peak Practice.

Laird returns to the stage as ‘Ruby‘ in August Wilson’s play King Hedley II. Directed by Stratford East Artistic Director Nadia Fall (The Village), King Hedley II follows one man’s quest for redemption after being released from prison and features Lenny Henry in his Stratford East debut as smooth-talking hustler ‘Elmore‘.

King Hedley II is set in 1985 and forms part of Wilson’s Pittsburgh Cycle, a series of plays that documents the African American experience in each decade of the 20th century. Other works in the Pittsburgh Cycle include Fences (adapted into a film starring Denzel Washington and Viola Davis) and Ma Rainey’s Black Bottom.

Alongside Sir Lenny, Laird shares the stage with Aaron Pierre (Krypton) and Cherrelle Skeete (Fun Home, Harry Potter and the Cursed Child).
We caught up with her to find out more about Ruby and the importance of August Wilson’s work…

King Hedley II runs at the Royal Theatre Stratford East until Sunday 15th June 2019. Find out more and book tickets here.