As a passionate advocate for diversity and representation in media, I find Sharon D Clarke’s journey incredibly inspiring. Her dedication to pushing boundaries and creating opportunities for underrepresented voices is truly remarkable. From her groundbreaking role on Ellis to her work on Mr Loverman and Lost Boys and Fairies, she continues to challenge the status quo and pave the way for future generations.
Add Ellis and Mr Loverman to your watchlist
Two individuals, one with fair complexion and another with darker skin tone, are seated in the lobby of a police station. A law enforcement officer approaches, assuming the first person is Detective Chief Inspector (DCI) Ellis, a professional brought to aid a struggling case. The first individual shakes her head, leaving the officer puzzled. He then queries the receptionist about DCI Ellis’s whereabouts, receiving a nod in the direction of the other woman. Upon approaching DCI Ellis later, she politely refuses to shake hands before accompanying the officer into a room filled with men in inexpensive suits, all eyes turned towards them.
Over the span of three full-length episodes in the Channel 5 detective series titled Ellis, Sharon D Clarke, who plays the lead character Ellis, forms a strong connection with DS Harper portrayed by Andrew Gower. However, this bond isn’t established immediately, as DS Harper first discovers and addresses some of his hidden biases along the way.
As a movie enthusiast, let me share my thoughts on the gripping series titled “Ellis”. This show doesn’t merely expose institutional racism and misogyny within the police force; rather, the shocking twist is that it marks the groundbreaking debut of a black woman as the lead character in a TV police series. Moreover, it signifies a momentous occasion for actress Sharon D Clarke, as she steps into her first major lead role, making “Ellis” an unmissable watch for those seeking authentic and empowering representation on screen.
Clarke is an exceptional, captivating actor who seamlessly transitions between roles – from playing characters in popular shows like “Doctor Who” and “Holby City,” to portraying Linda Loman on stage during the 2019 revival of Arthur Miller’s play “Death of a Salesman,” earning her a third Olivier Award. One might wonder, why was this talent not recognized earlier?
She smiles broadly, then erupts into a hearty, infectious laugh that suggests skepticism rather than anything else. “I’m unable to explain why I’ve never ranked first previously. You’d need to direct your questions to the individuals who handle the programming, I believe. It might be due to the belief that black doesn’t appeal. Period.
Clarke flings open her fan, exclaiming, “The frustrating menopause!” She then carries on, “I haven’t spent my time wondering, ‘Why should it be me?’ Life just happens that way. Everything has its moment.” Upon receiving the call about a new detective series starring a black female protagonist and offering her the role, she didn’t pause for thought. “Growing up, I rarely saw someone like me in the lead of a TV show, so I jumped at the chance! Not only that, but I’m a fan of shows like ‘Law & Order: Special Victims Unit’ and ‘Criminal Minds.’
Approximately a year and a half before the filming of “Ellis” began in Belfast, Clarke discussed the background of DCI Ellis with co-creator and co-writer Sian Ejiwunmi-Le Berre, who had previously adapted Agatha Christie’s “Murder Is Easy” for BBC1.
As a film enthusiast, I envisioned my protagonist hailing from a vibrantly diverse background, which is why I set her in Tottenham, north London – a place I’ve called home myself. She’s a resilient woman who’s climbed the ranks against the backdrop of systemic racism within the police force. I had an enlightening conversation with Irene Afful, the pioneering first black female inspector from Merseyside Police, about her journey. She shared stories of colleagues refusing to entrust her with leadership roles, to which she responded boldly, “I’m a black woman; I can handle myself.” Two tenacious male detectives recognized her potential and supported her ascension through the ranks. Some of Irene’s experiences subtly found their way into my character Ellis.
Undoubtedly, Sharon’s character in her writing was influenced by some of her personal experiences. Her parents, who were a seamstress and a carpenter respectively, migrated from Jamaica to London during the early 1950s. Growing up, she honed her dancing skills at the Ivy Travers Dance School in Stamford Hill every Saturday morning. She was fond of tap, ballet, and jazz dance forms and even played a role in the production Babes in the Wood. At six years old, she sang the Marie Osmond song Paper Roses on stage, with her mother as her coach. This early performance sparked a passion within her: “The electrifying connection you share with an audience while on stage is captivating.
At 14 years old, Clarke became a part of the Anna Scher Theatre, joining “the unpolished youth, those from the streets.” Her desire was to act, yet her parents, aware of its uncertain nature and even more so for a black working-class girl, emphasized the importance of education. She pursued a career as a social worker due to her exceptional listening skills (“People often share their stories with me on the bus”), but her passion for acting remained constant until she spotted an ad for auditions at Battersea Arts Centre. She applied and was successful in securing the position. For Clarke, theatre holds a special place, being her first love; however, television is significant due to its role in representation.
Why has it taken so long? They thought black doesn’t sell. Full stop
Growing up, Clarke was fond of shows like “Doctor Who,” “Wacky Races,” and “Grange Hill.” It wasn’t until 1981, when the family finally got a color TV so everyone could appreciate Diana’s wedding dress in its full splendor during the royal wedding, that they had access to television. However, Clarke lamented that there were few Black characters on TV during the 1970s, and she vividly remembers the excitement when she saw an advertisement featuring a black man brushing his teeth – her friends couldn’t believe it and the phone rang non-stop with their disbelieving calls. Although representation has improved since then, Clarke emphasizes that there is always room for more progress, and she shares a collection of related stories.
Reflecting on my first Olivier Awards ceremony back in 1995, Adrian Lester and I were the only individuals of African descent in the entire room. Even today, I find myself needing to remind people not to touch my hair without permission. Sadly, I’ve also experienced being overlooked on television sets. Racism isn’t just a problem within the industry; it’s a constant part of my everyday life. I often have to ask people to move aside when they block doorways, only for them to eventually acknowledge my presence with an apology that feels more like an afterthought. Living with this daily struggle is truly exhausting.
For quite some time, Clarke had been presented with opportunities to play a nurse on different TV shows. However, she temporarily stopped auditioning for television roles as she didn’t want to be confined to playing a nurse solely due to her race. But when she was cast as consultant Lola Griffin in Holby City, she found the character to be powerful and authoritative, which she found appealing. Upon stepping onto the set for the first time and seeing Robert Powell, who had played Jesus in Jesus of Nazareth back in 1977, Clarke was taken aback and exclaimed, “Oh my God, it’s Jesus!” She also recalled a unique experience where an episode featured five black women of various skin tones performing a scene without any men or white people present – something she had never experienced before. After leaving the show in 2008, an entire episode was dedicated to Lola’s departure.
I say that I couldn’t believe Clarke’s character Grace was killed off in Doctor Who and she laughs. “I was like, ‘People, you’ve missed a trick here!’ To have those different generations of women in the Tardis was glorious. A black woman, a white woman and a brown woman. The flack that Jodie [Whittaker] took for being the first female Doctor was ridiculous. Someone said little boys no longer had a role model! What the hell! And now Ncuti Gatwa is a funky, funny, charming, cheeky, sexy black Doctor. We’re on the frontier of time, right here, right now, and we should always be pushing those boundaries.”
Clarke expresses a careful optimism about the progress being made. Beyond her role in Ellis, she is also starring alongside Lennie James and Ariyon Bakare in the captivating adaptation of Bernardine Evaristo’s 2013 novel, Mr Loverman. She eagerly devoured the book upon its release, admiring Evaristo’s courage in sharing an unheard narrative about an elderly gay couple from the Caribbean. This year, she has been fortunate enough to participate in two stories led by the LGBTQ+ community – the other being Lost Boys and Fairies, which was remarkably truthful and sincere. She can’t explain why this is her first collaboration with Lennie, but they immediately clicked. Moreover, she has never been part of a set as diverse, ranging from the cast and crew to the accountants. This is 2024. This is how it should be done! Mr Loverman might just be her most significant achievement in television.
Racism isn’t just an industry thing, it’s a daily thing
I’d like to know if Clarke, who grew up in less accepting times and married writer-director Susie McKenna in 2008 following their meeting on the set of Cinderella in 1999, has frequently encountered homophobia. “I didn’t reveal my sexuality until I’d discussed it with my late parents, and after that, I felt no hesitation to talk about it openly. I’m quite open about my marriage to Susie! Everyone in the industry is aware of this. I’ve been incredibly fortunate in this regard. It’s crucial for me that productions like Lost Boys and Mr Loverman are available to help people comprehend that it’s acceptable for some individuals to come out, while it might be challenging for others. Everyone should be allowed to make their own choices.
It’s past the 45-minute mark, and now it’s 90 minutes – but before Clarke heads out into the rain, she wants to discuss “The Importance of Being Earnest,” an Oscar Wilde play opening at the National Theatre on November 21, which also stars Ncuti Gatwa. “Just like ‘Death of a Salesman,’ it’s part of the traditional theater canon and wasn’t on my radar before. I didn’t even have to audition! I’m thrilled because we have the talent of Ncuti in it, and I know there will be a new wave of fans due to him. That man is attractive! And here’s a fun thought: If Oscar Wilde and Shakespeare were writing today, they’d be crafting stories for our vibrant, multicultural society.
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2024-10-22 20:12