‘When you’re the only black kid on your course and one of the head lecturers tells you there’s no space for black theatre makers on the curriculum so you spend three years learning about Chekhov and Carol Ann Duffy but then realise that you can write your own stuff for lil black girls and so you do that, and sell out the Bristol Old Vic and the lecturer that told you there’s no space for you, pays to watch you perform.’
‘I decided to confront the experience of colourism and skin bleaching which permeates the Black and Asian community.
‘When I was growing up I noticed visible changes in some of the women around me. There were little signs that revealed the use of lightening cream.
‘I knew how to spot the signs but I never understood the wider implications of this; it was a taboo subject that no one dared to address.
‘Through Check the Label I am attempting to say what many young black girls, including myself, once struggled to articulate.’
‘I’ve spoken to Eno about her post and apologised that she had this negative experience.
‘I’ve invited her to meet with me in September to talk through and get her feedback on changes we’ve already made in the new Theatre curriculum.
‘She agreed that her experience studying here was a positive one in many ways. Indeed, her play Check the Label was made possible through the Studioscripts programme we fund and run through our in-house Drama Society Studiospace, in partnership with Bristol Old Vic.
‘The University has made a strong commitment to increasing diversity in its new strategy and we’ve broadened out the curriculum significantly across the Faculty of Arts.’