Black Power Desk musical at Brixton House – review

It’s been seven years in the making and well worth the wait, Urielle Klein-Mekongo’s 1970s-set musical Black Power Desk has opened at Brixton House.

We’re barely in our seats and our feet are tapping along to composer Renell Shaw’s music with the added bonus of having a live band nestled in the corner of the stage and bringing the vibes.

Inspired by Black British activists, the Mangrove Nine, who were tried for inciting a riot during a protest against police brutality, the title Black Power Desk is from a real life undercover surveillance unit which operated out of New Scotland Yard. It was set up specifically to monitor Black power movements within the UK during the ’60s and ’70s.

Black Power Desk centres on two sisters Celia (Rochelle Rose) and Dina (Veronica Carabai) who have drifted apart since the death of their mother, a year ago. They hold very different dreams and aspirations. Celia wants to sing, having held the fort when their mother died, while Dina is an impassioned political leader oblivious to the sacrifices her sister has made.

Much of the play is set in a Caribbean restaurant, the Drum, based in north west London’s Harlesden. It’s the perfect backdrop for a communal, accessible feel: there’s plenty of audience interaction – we are encouraged to vote, co-sign with the characters or kiss our teeth, while gasping or shaking heads in disapproval as the story unfolds and plot twists are revealed.

Jessica Cabassa’s costume and Natalie Pryce’s set designs perfectly complement each other in depicting the ’60s and ’70s era. The cast are a vision of flares, leather jackets, patterned shirts and afros. Walls are adorned with black and white photos, a shelf with popular Jamaican tipples including Wray and Nephew’s overproof rum and bottles of Red Stripe beer and it’s the community hub for playing dominoes, getting a good meal, performances and regular meetings for community activism.

It is set during a period where misogyny and misogynoir is rife. This is a time where police surveillance, brutality and harassment towards the Black community is high and the play does not shy away from this either, through scenes of violence or in the racial slurs used by the police officers (Alan Drake and Casey Bird) who are constantly trying to find ways to shut the Drum down. It is through the institutionalised racism of the police force that we see corruption was widespread within the judicial system – and is an overarching theme with the police station featured as a balcony overlooking the rest of the set – separating them from the community and highlighting their surveillance activity.

With Gbolahan Obisesan’s immersive and ebullient direction and Jade Hackett’s upbeat and vibrant movement direction, Black Power Desk is pacey, helped by dramaturg Gail Babb. This is an original musical featuring incredible lyrics and rapperturgy by Gerel Falconer (he also plays Carlton) and it’s a joy seeing the cast enjoying their time on stage – skankin’ and two-stepping to the nods to dubstep, reggae, ska, calypso, lovers rock, rap and grime. Many of the songs receive rapturous applause from the audience with the song lyrics resonating. Standout numbers include “Is It Because I’m a Woman?”, “Can You See Me?” and, “Keep On Breathing” and alongside the catchy numbers and incredible vocals – this is a quality production.

Prema Mehta’s lighting design sees the use of blue lights – is that to signify police sirens? Maybe. Strobes are used effectively during snippets of news reports covering the Stockwell Six (1972) New Cross Fire (1981), or Enoch Powell’s “Rivers of Blood” speech (1968).

This nostalgic show surely deserves a West End transfer, especially with the authenticity of its actors – including Alexander Bellinfantie, Tomos Eames, Fahad Shaft, and Chanté Faucher. It’s unapologetic, informative portrayal of Black love, Black power and a forgotten but hugely important aspect of Black British history. Black Power salute to all involved. Essential viewing.