A riotous romp through 1900’s England, led by Britain’s first black beauty queen.
A heart-warming tale of courage and tenacity, Princess Essex follows the inspiring true story of the first woman of colour to enter a beauty pageant in the UK. Rumoured to be a Senegalese royal, in 1908 Princess Dinubolu travelled to Southend-on-Sea to enter the international pageant, held at the towns well-loved events venue, the Kursaal. Her historic origins are unknown and playwright Anne Odeke toys with her potential backstory, bringing us a reimagined version of this titular character.
Odeke creates the role of Joanna, a local ‘half caste’ housemaid who feels drawn to enter the pageant. By playing this fiery servant herself, Odeke has become the first woman of colour to write and star in her own play at Shakespeare’s Globe. Her writing is immaculate and her acting chops live up to a demanding script (not to mention her fabulous singing voice).
A vaudevillian affair, this show boasts a live orchestra and full-cast musical numbers. It’s a high-energy performance, with none of the actors showing signs of tiring, despite constant entrances, exits and both character and costume changes. The expert costuming by Isobel Pellow allows instant character transformation, and despite the constant changing of identities it’s always clear who’s who. The costumes, wigs and accessories are vibrant and exciting, while giving a playful nod to Edwardian fashions.
Despite the Amazonian performance by Odeke, there is no real star of this show. A true piece of ensemble theatre, every actor steps up to bring this compelling story to life. Alison Halstead is an engaging Mr Batwa, the Pygmy who inspires Joanna to quit her job and pursue greater passions. Eloise Secker plays a hilarious Violet, the spoiled daddy’s girl, who becomes increasingly infatuated with a housemaid and Suffragette.
However, this is where the play shows some weakness. Despite its lengthy runtime, there are a number of subplots and loose ends that are never resolved. Violet’s sapphic interests are introduced too late in the piece to be fully explored and the financial future of the Kursaal remains uncertain. Refining these elements would create a tighter, cleaner show with clearer messaging.
Despite these minor shortcomings, this play is a huge success. With all the trimmings of a Christmas pantomime, the show is tremendously fun, with the audience getting more and more involved as the story progresses.
Odeke and director Robin Belfield have created an impressive piece of theatre, using serious themes to deliver the ultimate message of the importance of representation and being seen. A must watch for anyone who has ever felt invisible or like their identity precludes them from pursuing their dreams. Take a page out of Princess Dinubolu’s book and enter that pageant!