Review: WHY A BLACK WOMAN WILL NEVER BE PRIME MINISTER, Camden People's Theatre

At first glance, the set of Why a Black Woman Will Never Be Prime Minister appears simple—a few chairs, a sofa, some storage—but Zakiyyah Deen’s work transforms Camden People’s Theatre into something electric.

It becomes a vibrant party, pulsating with Black joy and resilience. Moments later, it shifts into a funeral, a stark reminder of the Black lives lost, disproportionately and unjustly. Then, it surges into a protest, a cry for recognition, dignity, and justice in a world that sidelines the marginalised. In the end, the space fully reveals the raw talent of its inhabitants and the urgency and vitality of its narrative.

The show is a co-production with Camden People’s Theatre, part of their 30th season, which aims to champion early-career artists. They couldn’t have chosen a better artist or story to support. The structure of Why a Black Woman Will Never Be Prime Minister is interesting; it’s part one-woman show, part two-hander as we learn of the complexities that define adulthood for Black women – from university to career, to motherhood.

The play follows Shanice Laybá through her first year at university, drawing us into her world as if we’re her closest confidant – which we truly feel like. With her family just a 30-minute bus ride away, she grapples with newfound independence, the strain of distance from her long-term boyfriend, her dreams of becoming a poet, and the daunting question of what it might mean—or if it’s even possible—to succeed in politics as a Black woman. Interning for John Gainsborough—a textbook white, privileged politician—and faced with an unexpected pregnancy (slight spoiler, but we do see this coming from the start), Shanice collides with the harsh truth: a government and healthcare system that barely sees her, let alone serves her.

In every mission it sets itself upon, this play succeeds. It’s a tight hug to the communities that need it, it’s vital education to those who want to learn, it’s a wake-up call to those who are ignorant, and it’s an angry, triumphant demand for action. Zakiyyah Deen is a magnetic performer, her talent pulsates through the space. She’s just as talented a writer too.

Though the writing occasionally falters in the more serious, sombre scenes, slightly stifling the pacing, it remains an outstanding piece. Deen effortlessly weaves spoken word poetry into the text, creating a charged atmosphere full of protesting rhythm. The script thrives in its comedy. There’s an especially clever mock-debate scene where Deen fully proves her status as a powerhouse on stage.

When Ryan Whittle first walked in as John Gainsborough, I did question whether this extra character was needed – this could easily be a one-woman show. However, he fully justifies his presence. His performance is a comedically golden and knowing character study of the politicians who continue to erode our soil. The pair are directed by Kelechi Okafor, who adds a light touch, ensuring the piece is constantly engaging – which is also bolstered by a fantastic lighting design by Jahmiko Marshall and sound design by Khalil Madovi.

I’d swap a hefty amount of our current West End programme to give Why a Black Woman Will Never Be Prime Minister a stage on Shaftesbury Avenue – it craves and deserves a much bigger space. 

In one of her heart-wrenching spoken word pieces, Deen exclaims the importance of taking to the streets and the stage to create change. Why a Black Woman Will Never Be Prime Minister is a shining example of why this is so necessary. This is a piece of theatre destined to ignite powerful conversation, whilst making the communities it represents exceptionally proud too.

Why a Black Woman Will Never Be Prime Minister is at Camden People's Theatre until 9 November

Photo Credits: Ali Wright 

To post a comment, you must register and login.