As a woman of color who has spent decades navigating the often-unforgiving world of entertainment, I find it incredibly heartening to see how far we’ve come in terms of representation and diversity, especially on beloved franchises like Doctor Who. It’s been a long time coming, but it’s undeniably refreshing to see different generations of women, from various backgrounds, taking the TARDIS for a spin.
This article first appeared in TopMob magazine.
Two females, one Caucasian, one African-American, are found sitting in a police station’s lobby. A policeman enters and strides towards the Caucasian lady, assuming she is DCI Ellis, a detective who has been summoned to aid an underperforming investigation. The Caucasian woman signals that she is not DCI Ellis; the officer seems puzzled.
He inquires from the receptionist about the location of DCI Ellis. She gestures toward a black woman. Upon the officer’s arrival near Ellis, she refuses to shake his hand and then moves with him into a room filled with men in shabby suits, causing all of them to look up curiously.
Throughout the three extended installments of the Channel 5 detective series titled Ellis, Sharon D Clarke’s character, the title-giving senior police officer, forges a strong connection with Andrew Gower’s character, DS Harper. However, this bond doesn’t materialize without him gaining some insights into his unconscious prejudices along the way.
In Ellis, what’s remarkable isn’t the portrayal of institutional racism and misogyny within the police force, but rather that a black woman is heading a TV police series for the very first time, and this marks Sharon D Clarke’s debut as the main character.
Clarke is an exceptionally versatile and captivating performer, seamlessly transitioning between roles such as playing a character in Doctor Who, a doctor on Holby City, and Linda Loman on stage during the 2019 revival of Arthur Miller’s Death of a Salesman. Her impressive portrayal earned her a third Olivier Award. One might wonder why it took so long for her talent to be acknowledged in this manner.
She smiles, then erupts into a prolonged, infectious laugh that suggests skepticism rather than anything else. “I can’t explain why I’ve never been number one before. You’d need to talk to those who handle the programming, I believe. I suspect it has something to do with the notion that black doesn’t sell. Period.
Clarke lets out a sigh as she flips open her fan, exclaiming, “Oh, the frustrating menopause!” Then, she goes on to say, “I haven’t spent my time pondering, ‘Why should I be excluded?’ Life just works that way. Everything happens when it’s supposed to.
When Clarke received a call about a new detective series featuring a black female protagonist and inquiring if she’d be interested, she didn’t hesitate. “Growing up without seeing someone like me in the main role of a TV show made this opportunity irresistible. Moreover, I’m a fan of shows such as Law & Order: Special Victims Unit and Criminal Minds.
Approximately 18 months prior to the filming of Ellis in Belfast, Clarke held a conversation with co-creator and co-writer Sian Ejiwunmi-Le Berre regarding the background of DCI Ellis. This writer had previously reworked Agatha Christie’s “Murder Is Easy” for BBC One.
In my story, I chose for the character to hail from a diverse background, specifically Tottenham, North London – a place I have personal ties to. She’s a strong-willed individual who has managed to rise through the ranks in her career, overcoming the persistent racism within the police force. Additionally, I had an engaging conversation with Irene Afful, the first black female inspector of Merseyside Police, about her personal experiences.
“She told me that her colleagues wouldn’t let her lead on anything, and she was like, ‘I’m a black girl, I can take care of myself.’ Two great detectives, both male, saw her potential and encouraged her to rise through the ranks. I fed some of Irene’s experiences into Ellis.”
Without a doubt, some of Clarke’s personal experiences found their way into her character. Her parents, a seamstress employed by Harrods and Selfridges, and a carpenter, both immigrants from Jamaica, relocated to London during the early 1950s.
On Saturdays, Sharon went to the Ivy Travers Dance School in Stamford Hill. Her favorite classes were tap, ballet, and jazz, and she even performed as a character in Babes in the Wood. At just six years old, she performed Paper Roses by Marie Osmond on stage, with her mother – a talented singer – coaching her. From that moment, Sharon was captivated: “The electrifying connection you feel with an audience when you’re performing is exhilarating.
At age 14, Clarke enrolled in the Anna Scher Theatre, which she referred to as “the young, unpolished ones from the streets”. She had a passion for acting, but her parents recognized its uncertain nature, particularly for a black working-class girl, and emphasized the importance of education.
Initially, she chose to become a social worker due to her exceptional listening skills (people often confide in her on bus rides), however, her passion for acting was constantly lurking in the back of her mind. Eventually, an advertisement for auditions at Battersea Arts Centre caught her attention and she decided to apply. Landing the role, she declared theatre as her primary passion, but emphasized that television was significant due to its impact on representation.
Growing up, I was captivated by the thrilling adventures of Doctor Who, the zany races in Wacky Races, and the gritty realism of Grange Hill. The arrival of our color TV in 1981 was a special moment for us, as it allowed my mother to fully appreciate the stunning elegance of Lady Diana Spencer’s wedding dress on that unforgettable day.
In the past, she adored television shows, yet found it troubling that there were few black characters portrayed. One memorable day, an advertisement featuring a black man brushing his teeth aired, causing her phone to ring incessantly with friends calling in shock. Although representation has improved since the 1970s, Clarke emphasizes that we should strive for more diversity. She then shares various stories that illustrate this point.
At her initial Olivier Awards event in 1995, she and Adrian Lester were the sole representatives of color in the assembly. To this day, she finds herself reminding people about personal boundaries concerning her hair. Television sets have overlooked her presence.
Racism isn’t confined to the workplace; it’s an everyday experience for many. For me, it’s a part of my daily life. I find myself saying ‘Excuse me’ frequently when people are blocking a doorway, and even then, it takes them a while to notice me. They’ll eventually say, ‘Oh, I didn’t see you there.’ It can be draining.
After spending several years, Clarke had opportunities to portray a nurse in multiple TV shows. However, he paused his auditions for a spell as he didn’t wish to play a nurse just because of his race. Eventually, he was cast as consultant Lola Griffin on Holby City.
However, Lola held power. She was bold with her opinions, firm in her decisions. On the initial day on set, I encountered Robert Powell. Incredible! It seemed like I was looking at Jesus, as he played that role in Jesus of Nazareth back in 1977.
In one scene on prime-time television, five women of various dark shades, all black, were present without any men or white individuals. This had never happened before! After Clarke departed from the series in 2008, an entire episode was dedicated to Lola’s departure.
I expressed my disbelief that Clarke’s character Grace was written off in Doctor Who, to which she responded with laughter. “I couldn’t help but think, ‘You guys really dropped the ball here!’ Having different generations of women in the TARDIS was magnificent. A black woman, a white woman, and an Asian woman together.
The criticism Jodie [Whittaker] faced as the first female Doctor was absurdly unnecessary. It was suggested that boys would no longer have a role model to look up to. That’s just preposterous! Now, with Ncuti Gatwa as the Doctor, we have a character who is fresh, humorous, captivating, mischievous, and attractive. We’re standing at the edge of time itself, and it’s crucial that we continue to challenge norms like this.
Clarke shows cautious optimism as she feels boundaries are being expanded. Beyond her role in Ellis, she stars alongside Lennie James and Ariyon Bakare in Mr. Loverman, an enchanting adaptation of Bernardine Evaristo’s 2013 novel. This heartwarming production revolves around a family man who must conceal his love for his male best friend.
As soon as the book was released, I dived right into it. Bernardine’s courage in narrating an unspoken tale about an elderly gay pair from the Caribbean was truly admirable to me.
This year, I’ve had the good fortune to work on two heartfelt stories with gay leaders – among them were ‘Lost Boys and Fairies’, a project that was incredibly sincere and authentic. Interestingly, this was my first collaboration with Lennie, but our connection was instant. Moreover, the set I worked on was remarkably diverse, from the actors to the crew and even the accountants. It’s 2024, and this is what progress looks like! ‘Mr Loverman’ might just be my most significant achievement in television.
I wonder if Clarke, who was raised in less accepting times and tied the knot with writer and director Susie McKenna in 2008 following their initial encounter on a Cinderella production in 1999, has frequently encountered instances of prejudice based on sexual orientation.
I didn’t reveal my identity until I had spoken with my deceased parents, and afterwards, I felt no fear to discuss it openly. I’m completely open about it! Everyone in the field is aware that I’m married to Susie. I’ve been incredibly fortunate in this area.
For my part, I firmly believe that series such as “Lost Boys” and “Mr. Loverman” serve a crucial purpose in fostering acceptance by portraying the journeys of individuals who choose to come out, emphasizing the unique challenges each person faces. It’s essential to remember that everyone has their own pace and path, so let’s encourage them to express themselves freely.
It’s now been 90 minutes since we were supposed to leave, but before stepping out into the rain, Clarke would like to discuss “The Importance of Being Earnest,” a play by Oscar Wilde that will be opening at the National Theatre on November 21st and features Ncuti Gatwa among its cast.
As a theater enthusiast, I’ve always found myself drawn to productions outside the traditional “white canon,” as they weren’t typically on my radar. However, an exciting twist has just occurred – I’m part of a cast that includes the extraordinary Ncuti Gatwa! Known for his captivating performances, he’s sure to attract a new generation of theatergoers. And let me tell you, this young man is not only talented but also quite charming!
As a film enthusiast, let me share an intriguing thought: If the brilliant minds of Oscar Wilde and William Shakespeare were alive today, they wouldn’t miss a beat when it comes to crafting stories that resonate with our vibrant, diverse society. Our society, a beautiful tapestry woven from countless cultures, would undoubtedly inspire them as it does us all.
The latest issue of TopMob is out now – subscribe here.
Ellis will begin airing at 8pm on Thursday 31st October on Channel 5.
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2024-10-21 19:04