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Zakiyyah Deen - interview

'Obtaining a seat in a theatre is far easier than obtaining a seat in parliament. Thus if we can’t get into these spaces, we must take to the streets and the stages' - a quote from Zakiyyah Deen that perfectly summarises her reasoning for the conception of Why A Black Woman Will Never Be Prime Minister. Her powerful two-hander explores the intersectionality between politics and the lived experiences of Black women's maternal journeys through a blend of humour and harsh reality of the discriminatory struggles they face.


In the following interview, Zakiyyah has spoken more on her involvement in creating the show.

 

You say the piece was conceived out of frustration - can you tell us more about this and how the emotions translate to the stage?

 

Yeah, so this whole idea popped up in a daydream during a workshop. They told us, “Write what you know, write what you care about,” and I thought, what if I could actually sit down and chat with the Prime Minister? It spiralled from there. My mum’s a doula [a professional to support through maternity stages], so we were having mad conversations during lockdown - everything from what’s for dinner to the big stuff like Black women’s maternal health. We got frustrated, especially when we started digging into the stats. Black women are four to five times more likely to die in childbirth than white women. We found it mad how not many people were talking about it. For me, theatre is where you can spark conversations and maybe even change. On stage, those frustrations come out through a mix of comedy and real, raw moments. The humour lets people relax a bit, but the truth still hits hard.

 



How does it feel to be debuting your first full-length play, and starring in this too?


It’s exciting, but it’s mad scary too. I’ve been performing for a while, so being on stage is second nature, but sharing a full-length piece I wrote - that’s a whole other ting. I’ve done spoken word and poetry before, and there’s a lot of that in the play, but this is different. It’s like I’m putting more of myself out there, and that’s both exciting and nerve-wracking. But yeah, I’m excited to share it and see what people take from it. 

 



How have you found the development process; what have you found most challenging and rewarding?

 

It’s been a long journey. I’ve been developing this for a few years, but the last six months have been non-stop. I’m wearing a lot of hats - writer, performer, co-producer. Plus, I’ve been running workshops with young Black mums in London and Birmingham, and with students. A 'Zak of All Trades' if you will. It’s been intense, but I’ve got an incredible team, so I think the rewards will come once it’s all out there. A special moment for me was when a young person said, after a workshop, “It made me realise that everything is possible.” That’s when I knew I was on the right track. If I can empower people like that, then I’m doing something right.

 



How are you mixing thought-provoking political views and lived maternal experiences with satire to create a balanced and engaging script?

 

You’ll have to come and see! For real though, I thought a lot about the differences and overlaps between those worlds. Kelechi Okafor, our director, always says “the personal is the political,” and that’s what we’re playing with. There’s a lot of truth in the humour, and a lot of comedy in the serious moments. It’s about finding that balance and letting both worlds talk to each other.



 

Why have you chosen to present such ideas through the medium of theatre?

 

Theatre is just a perfect way to blend social commentary with something that’s still engaging. The opening stage direction is “A Black female teen walks through the space. With an unapologetic South London bop, she floats between the real world and her own.” Theatre is the place to do that. Spoken word and poetry play a big part in this piece, and I think they fit theatre beautifully, especially when you want to get across something as real as Shanice’s story.

 



How do you aim to show a true representation of the issues discussed in a way that highlights their importance over just 70 minutes?


It’s about hitting the right notes - through humour, spoken word, and the rawness of the subject. It’s short, but we pack a lot in, and because it’s a two-hander, it’s intimate, so you really feel it. We make sure the weight of the issues is always there, even when people are laughing.


 

Who has inspired you over the course of this project?


My mum, my grandma (aka Gamin), my partner, my peers and all those I love. Especially, Black women. They’re my biggest inspiration. And of course, the creative team I’m working with. Separately, John Gainsborough, who’s a key character in the play, is inspired by politicians and political leaders. And even though I don’t rate everything they do, I’ve got to respect them a little. Running a country ain’t easy, and if they did it perfectly, I wouldn’t have a play to write, so safe for that!

 



What kind of conversations do you hope the production encourages for audiences, and how would you like these to be continued going forward?


I hope this play gets people talking about how Black women’s health, even though it might seem minor to some, actually highlights much bigger issues in the system that need fixing. I want people to chat about what it really means when two different worlds collide - like, is that even something we want? The main point of the play is you don’t have to be a politician to have a say. Look at me, I’m no political expert, but I’ve got my views, and that’s why I wrote this play.

 



What would you most like to achieve through your work in the future?

 

Honestly, I wanna create work that makes people think but also makes them feel seen including Black women. It’s about telling stories that ain’t always heard and showing the world through our lens. I'm keen to explore different mediums through writing too - like, theatre is my first love, but I wanna get into TV, film, and maybe even books one day.

 

Long term, I wanna set up spaces where other upcoming artists can get their work seen and heard without having to jump through a million hoops. It’s about building something that lasts and making sure we’ve got a voice in every corner of the arts.


 

Huge thanks to Zakiyyah for your contributions - your voice is crucial for speaking out about the hidden difficulties in Black healthcare that need addressing and changing. I hope you have the amazing run that this show deserves.


Get your tickets to Why A Black Woman Will Never Be Prime Minister here:



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