Author: East End Review

  • Market gardens: the ‘ugly sisters’ of horticultural history

    Market gardens: the ‘ugly sisters’ of horticultural history

    Watercolour of Kingsland Road in 1852, by C.H Matthews, showing market gardens on the right. Published in The Gardens of the British Working Class by Margaret Willes
    Watercolour of Kingsland Road in 1852, by C.H Matthews, showing market gardens on the right. Published in The Gardens of the British Working Class by Margaret Willes

    What was Sarah Chandler doing in Edward Dixon’s garden at six in the morning of Thursday 4 September 1740?

    Scrumping, claimed Dixon, but she said the apples and pears in her apron were windfalls, and the judge let her off with a caution.

    Luckier than Eliza Ingram and Jean Kidd who were caught red-handed stealing cabbages from William Stevens’s market garden in the parish of Bow and sent to Bridewell prison.

    The Hackney Petty Sessions book revealed a lot of this sort of thing in the profitable market gardens of East London, where quality fruit and vegetables were grown in intensely cultivated plots for comfortably off clients in the City.

    Ugly sisters

    According to historian Malcolm Thick, market gardens were the ugly sisters of garden history, which until recently was all about pleasure grounds for posh people.

    Hackney had its share of those, but was ideally placed for the commercial activities of hard-nosed entrepreneurs.

    In the 1590s there had been famine in London, and feeding the poor was a priority; root vegetables helped, and so plentiful crops of carrots, parsnips, turnips, neeps and swedes, were grown as a substitute for grain.

    Exquisite turnips

    A century later Hackney was renowned for its exquisite turnips (it was only later that they became cattle feed) and today you can find in fruit and veg stores all over Hackney, small tender white turnips, or fresh radishes, which can be simply cooked and eaten hot or cold.

    Claudia Roden has a wonderful recipe for simmering them in a very little water with a  few fresh dates, then finishing off with butter or olive oil and salt and pepper.

    It’s easy to chide the multinational supermarkets for promoting out of season fruit and vegetables, but our London market gardeners were just as crafty; there was big money out there and customers willing to pay for asparagus in early spring, tender young peas in April, long before the main crop, hothouse fruit, and abnormally precocious cucumbers and melons.

    Londoners also provided the ‘night soil’ from privies and rubbish heaps to manure these costly crops.

    What is now Pimlico was once a network of intensively cultivated plots, the Neat House gardens, and our own Mare Street was surrounded with garden plots and orchards, where Sarah Chandler nearly copped it.

    Hackney was a good place for nurseries where exotic plants and palms were grown for sale, and Lord Zouch’s physic garden, run by Matthias Lobel, a world famous botanist from the Low Countries, flourished in Homerton High Street.

    The Four Elements: Earth by Joachim Beuckelaer. Courtesy of the National Gallery
    The Four Elements: Earth by Joachim Beuckelaer. Courtesy of the National Gallery

    The painting immediately above shows the sort of vegetable stall that the advanced horticulture of the Netherlands could produce, a stunning celebration of enjoyable products, even allowing for the symbolism that both artists and their clients enjoyed.

    Symbols

    The vegetable kingdom is not lacking in phallic symbols, but some like the cucumber have double meanings, where it can signify the purity of Christ, and the apple that it is often associated with the fecundity of his mother.

    The hothouse grapes might not have been displayed on every fruit stall, but they were out there to symbolise both the chastity of the virtuous young market woman, or the fruitfulness of a respectable married woman.

    Fat-bellied cabbages and melons speak for themselves. Carrots and roots sit athwart each other in the shape of a cross, another possible religious meaning.

    Late autumn fruits like mulberries are shown alongside early cherries, and various kinds of apple, the overall effect not unlike the more enterprising greengrocers of Hackney today.

    Hackney offers most of the seasonal vegetables – from asparagus in whole food shops and most supermarkets, to ‘greens’ of various kinds.

    It’s always irritating to be told that the only way to enjoy asparagus is to cut it just before use and run with it from the garden to a pot of boiling water in the kitchen. As if.

    And even more irritating to have to boil the living daylights out of it the English way, before dunking it in slowly congealing melted butter, which oozes inexorably from fingers to wrist to elbow to armpit… such a mess, cancelling out the guilty thrill of eating with one’s fingers, when a sharp knife and fork are surely what nature intended.

    But better still is to roll the trimmed and dried spears in good olive oil and salt crystals and roast or grill or barbecue, and eat with just a grinding of black pepper. Or you can sweat them slowly in plenty of butter until just tender, then serve with freshly-grated parmesan cheese.

    Or scramble some beaten egg and cream into the butter-softened spears.

    A good risotto is easily made with a stock made from the discarded woody ends of asparagus spears, along with a chicken carcass or some wings; the rice sautéed in butter or olive oil, then doused with the broth, and then the tender spears, cut into one inch lengths, incorporated into the rice after about five minutes, and the risotto, with more broth stirred in from time to time, served with more butter, and generous amounts of parmesan.

    Gillian Riley is grateful to Malcolm Thick for sharing his gleanings from Hackney’s rural past.

  • Stutterer: film review – universal themes in modern East London

    Stutterer (2) 620
    Reclusive: Matthew Needham is Greenwood in Stutterer

    East London may with some justification be able to call itself a world leader when it comes to making short films these days.

    That is because East London films have triumphed for two years running at the Oscars in the category of Best Live Action Short Film, arguably the most prestigious award a short film can receive.

    This year 12-minute short Stutterer emerged victorious in the category, emulating the success of James Lucas’s The Phone Call the previous year.

    Directed by Benjamin Cleary, the film is about a reclusive typographer with a severe speech impediment whose inability to communicate effectively in everyday situations severely hampers his self-esteem.

    Stutterer 620

    Greenwood, played by Ben Whishaw-lookalike Matthew Needham, is a young twenty-something East Londoner who can’t even phone his broadband provider without them assuming it’s a nuisance call and hanging up.

    When someone asks him for directions, he feigns deafness by responding in sign language to avoid a potentially embarrassing situation.

    Yet the voice inside his head is clear, articulate and witty. He makes up poetry, his bedroom is full of books.

    The place where Greenwood can most be himself is on the internet, where he has been chatting with a girl for six months over Facebook. But when she decides to visit London and wants to meet up IRL, Greenwood is crippled by fear.

    Stutterer (3) 620

    With funky patterned shirts buttoned all the way to the top, Greenwood looks every inch the modern East Londoner as he scouts Broadway Market, rehearsing what he’s going to say, leading to the final scene outside the Star By Hackney Downs pub, and a clever and unexpected plot twist.

    Only the viewer is privy to Greenwood’s inner thoughts and wry observations, which we hear in a voiceover, often while Needham’s face, the picture of self-pity, gazes back at us.

    But our sympathy is derived less from Greenwood’s condition than what it comes to represent: the struggle to bridge the gap between the ‘real’ person inside and the one the world sees – a universal theme no less, in this subtle and tender film.

  • Will Volley, Hackney graphic novelist and creator of The Opportunity – interview

    Will Volley, Hackney graphic novelist and creator of The Opportunity – interview

    A panel from The Opportunity, Will Volley's graphic novel.
    A panel from The Opportunity, Will Volley’s graphic novel.

    Multi-level marketing, sometimes known as pyramid selling, may not strike most people as a gripping subject for a debut comic noir. But then Will Volley is not most people. After publishing graphic novel versions of Romeo and Juliet and An Inspector Calls, the 35 year-old took a year off work, moved back home and wrote his own comic.

    The Opportunity is about Colin, a successful door-to-door salesman on the verge of getting his own sales office. One day everything changes and Colin’s sales team is given a new all-or-nothing target, and only five days to achieve it in.

    Volley explains why door-to-door sales made such a good subject, the Stoke Newington schoolteacher who inspired him and the fallen footballer he’s covering in his next novel.

    How much of this story was drawn from your own experience?

    My experience in a multi-level marketing company was limited to about two or three weeks. I enjoyed it – being a navel-gazing art student and coming into that climate was great because it was different, and the people there were enthusiastic. But there were things about this company that didn’t make sense: all the staff lived together in the same flat and it felt a bit like a cult. Through research I found support groups online for people who’d worked in this company, and then I devised a plot from interviewing ex-managers.

    Did you ever worry about how you were going to make a gripping thriller about multi-level marketing?

    No! When I was working there I thought: this is the perfect premise for a story. But it took me a while to come up with a plot I was satisfied with.

    How’s the political landscape and the job market changed since you worked for this company?

    It’s the same. A funny thing happened when I had literally just finished the book. I got a knock on the door, got up from my desk and went downstairs, and there was this young salesman. His pitch was word for word the same one I used ten years ago. Talk about weird.

    The-Opportunity-cover-image-620

    So I sort of cut him short and said, look, you need to be careful. He looked startled. I felt bad about it because he looked disappointed. Young people want to be optimistic and they offer incredible loyalty. That’s what this company provides: it gives you a thick blanket of security and the managers big you up. It’s hard to say how common these types of companies are now, but at the book launch someone came up to me and said they had spent a day with these guys in Tottenham.

    You mentioned in another interview that one of your teachers brought Daredevil comics into school.

    That was a real turning point. I went to William Patten Primary School and I had a teacher who was an ex-punk. He introduced me to weird things you wouldn’t expect kids to read and seeing that artwork by that specific artist changed everything for me. I fell in love with it and my own drawing just kind of grew from there.

    What are you working on next?

    A story about an ex-footballer who turns to a life of crime. I read a statistic that 40 per cent of ex-footballers go bankrupt within five years of their career ending. Football’s all they know and if they’re trying to maintain their lifestyle lots of them end up gambling, getting into debt and some even go to prison. It’s going to be much more personal: another falling from grace story, but this time a redemption tale.

    The Opportunity is published by Myriad Press. ISBN: 9781908434791.
    RRP: £12.99. Volley will be signing copies at the East London Comic Arts Festival (ELCAF) on 11 June.

  • Boceto review, Hackney Central: Spanish class

    Boceto review, Hackney Central: Spanish class

    A selection of tapas at Boceto
    Traditional and contemporary tapas at Boceto

    Boceto, a café and brunch place by day and cocktail and tapas bar by night, has opened on Mare Street at the former site of quirky French bistro Bouchon Fourchette.

    A little too far south of Hackney Central and too far east of London Fields to be located in a high density trendy eatery zone, Boceto nevertheless stands in good company next to infamous and hallowed institution The Dolphin (which might explain why the bottomless Prosecco brunch is not loudly advertised at street level).

    A sister venue to two other restaurants in the revamped Brixton market, Boceto, like its siblings, focuses on signature cocktails and small plates.

    The interior invites customers to linger: with the front shutter up, one can sit al fresco at a g-plan coffee table and observe the delights of Well Street junction.

    Further inside the long and narrow space, the decor is simple and intimate, dusky and candlelit after dark: a fitting ambience for perusing a drinks menu.

    Smashed avocado with fresh chillies and sunflower seeds on pan de coca
    Smashed avocado with fresh chillies and sunflower seeds on pan de coca

    Whilst its south-of-the-river counterpart Three Eight Four has an eccentric, almost humorous menu, Boceto sticks to the classics.

    The offerings don’t stray from traditional tapas fare, so chorizo, patatas bravas, gambas, croquetas, padron peppers and calamari are all there.

    But the servings were generous and all the dishes were good. The chuletas (grilled lamb chops) stood out, served pink with pungent herbs and pockets of succulent fat, as did the shiitake and chestnut mushroom croquetas.

    True to the version served in Spanish churrerías, churros were served with a hot chocolate pudding rather than molten chocolate sauce. The service throughout was warm, knowledgeable and helpful.

    What the food menu lacked in range was more than made up for by the kooky cocktail list, where institutional confidence shone through. Helpless to resist any cocktail that has chilli in it, I chose the Abuela, which contained mezcal, chilli, raspberries, chocolate bitters and ginger ale.

    My dining companion wistfully opted for the Bouchon Fourchette, in tribute to the closed restaurant and the steak tartare it took with it.

    This was a fluffy pink concoction made of gin, creme de rose, egg white, lemon cream and lavender, and served with a macaroon.

    With other enticing combinations like the ale-smoked Old Fashioned and the Gunpowder Negroni, I would recommend taking advantage of the £5 special introductory price for cocktails during May and June.

    Boceto
    171 Mare St, E8 3RH
    bocetohackney.com

  • Slave’s Lament – an art film with “raw immediacy” from Mile End auteur

    Slave’s Lament – an art film with “raw immediacy” from Mile End auteur

    Slave's Lament runs until 26 June.
    Slave’s Lament runs until 26 June

    There’s something ghostly about the intimacy of the art film Slave’s Lament and the accompanying series of Indian Inks by Graham Fagen, a Glaswegian artist represented by Mile End’s Matt’s Gallery.

    Notions of cultural redemption, closeness and personal detail take centre stage as Fagen looks at Scotland’s links to the slave trade and colonialism, particularly Jamaica.

    The four channel film is a performance of the song ‘Slave’s Lament’, written in 1792 by Robert Burns.

    The film matches the words of the poet to reggae music and is a collaboration with singer Ghetto Priest, accompanied by classical musicians.

    The song of tear-making poignancy and other worldly sorrow is written in the voice of a Senegalese person transported to a Virginian plantation.

    Robert Burns, though known for his abolitionist tendencies, was close to becoming a slave overseer on a Jamaican sugar plantation in the late 1780s.

    His finances in a mess and his writing going nowhere, the desperate poet saw a chance to get rich quick and put down a nine guineas deposit to secure his passage.

    But the success of publishing a book of his poetry to raise money for the trip caused his life to veer forever in a different direction.

    Fagen’s filmed version of the song is haunting, as different tones of the past and modes of action resonate to create the sense of a still lingering presence of a recently lived past.

    The video focuses on the singer’s teeth, a striking motif in Fagen’s recent work. There’s a vulnerability to teeth, as the only exposed bones in the human body and our principal source of social exchange.

    Fagen’s interest in the depiction of teeth was sparked by casts of George Washington’s mouth, and the discovery that his dentist had taken a philosophy course on the phenomenology of dentistry.

    One of Fagen's Indian Inks
    One of Fagen’s Indian Inks

    Possessing a raw immediacy, the Indian Inks look like the Mexican Day of the Dead masks, or Venetian Carnival Masques. Each painting is punctuated by an identical starting point of the artist own teeth. These sensory portraits are created by Fagen closing his eyes, feeling his teeth and blindly rendering them.

    From there he continues to paint blindly about how he feels, whether it is first thing on a glum Monday morning or the fizzing energy of going out on a Friday night.

    The Mighty Scheme: Graham Fagen
    Until 26 June
    CGP London and Matt’s Gallery
    The Gallery by the Pool
    SE16 2UA

  • Rio Cinema workers to strike over living wage and redundancies

    Rio Cinema workers to strike over living wage and redundancies

    Art deco landmark: The Rio. Photograph: Glenn McMahon
    Changing times: the Rio Cinema. Photograph: Chris Evans

    Staff at the Rio Cinema in Dalston are to strike over low rates of pay and compulsory redundancies.

    In a ballot that took place on Wednesday (11 May), cinema workers voted to take industrial action, with the walk out set to take place on 25 May.

    Employees are seething over the cinema’s reluctance to pay the London Living Wage (LLW) – currently set at £9.40 an hour – a figure regarded as the basic cost of living in the capital.

    Last month Rio Cinema announced a restructure that offers higher wages but which cuts hours and staff to pay for it.

    The disgruntled workers have launched the SOS Rio campaign, and an online petition has attracted 2250 supporters, including the likes of Hackney director Asif Kapadia and the actor Zawe Ashton.

    The Rio employs 30 members of staff, many of whom work on a part-time or casual basis.

    Two thirds of the cinema’s staff are in BECTU, the media and entertainment trade union.

    In the ballot on Wednesday, 13 employees voted in favour of strike action, with seventy per cent of BECTU members casting their vote.

    The strikers’ demands include a pay rise for all staff and commitment to the LLW, the withdrawal of the cinema’s restructure and threat of compulsory redundancies, as well as a “detailed five-year plan from the Board on how they intend to grow the cinema as a community resource for low income families”.

    “What started out as a simple pay dispute has turned into a passionate ideological battle over the soul of one of the last community cinemas in London,” said Sofie Mason, national official of BECTU.

    “Staff want change but not change that rips the heart out of the Rio.”

    Rio cinema Executive Director Oliver Meek said he was “at a loss” over the planned strike.

    “I’m incredibly frustrated by this,” Mr Meek said. “I’ve already confirmed with staff that the vast majority would go from the minimum wage, which is currently £7.40, to 12.5 per cent above that to £8.10 an hour.

    ”It’s not the London Living Wage, and whilst I agree we should be paying the London Living Wage, we can’t do that when the cinema is not financial viable.

    “The salary I’m proposing is more than many other independent cinemas pay, and this is really a first step.”

    Mr Meek, who became the cinema’s Executive Director last year, has hatched a “regeneration plan” for the Rio, which would add a second screen and make the ailing business more sustainable.

    “If we had a second screen we’d be able to pay the London Living Wage – which is what we should be doing,” he said.

    “But effectively I’ve taken on a cinema that’s been failing for a decade so I’m not able to do so at this point,” he said.

    Long-running dispute

    The long-running dispute over pay dates back to 2013, when the Rio Board announced the cinema was close to going under.

    Staff agreed a pay cut of 10 per cent over seven months, which along with public donations saved the cinema.

    Then in October 2015 staff asked for a pay rise for all employees, as well as repayment of the 10 per cent wage cut from 2013.

    But all the cinema bosses offered was a wage increase to £8.10 for the lowest paid, which led to the collapse of talks in March.

     

     

  • Azealia Banks axed from Hackney music festival after racist rant at Zayn Malik

    Azealia Banks
    Azealia Banks. Photograph: Rick Bonetti via Flickr

    Azealia Banks has been dropped from headlining a Hackney music festival after the hip hop artist unleashed a racially abusive and homophobic twitter tirade.

    Banks was set to headline Rinse: Born & Bred festival in Haggerston Park on Sunday 5 June.

    But Rinse FM, the festival organisers, have dropped the US star after she posted offensive tweets targeted at One Direction’s Zayn Malik.

    In a statement, the festival organisers said: “We have decided to cancel Azealia Banks’ headline appearance … Rinse: Born & Bred Festival is a celebration of rave culture and has been created for everyone. We celebrate inclusivity and equality.”

    In a stream of derogatory tweets, Banks called Malik a “brown-faced refugee” and said his whole family would be “obliterated by the good old U.S of A.”.

    She added: “The UK really can’t rap though. UK RAP is just a disgrace to rap culture in general.”

    The row started when 24-year-old Banks claimed Malik had copied her work for his new video, Like I Would.

    Damn Zayn be mood boarding the fuck of out me 😳.. I’m not mad about this though. Zayn is a cutie pie

    A photo posted by Azealia Banks (@azealiabanks) on

    Banks added that she thought the singer was a “cutie pie”, but when Malik, a British singer with a Pakistani father and English-Irish mother, tweeted: “I see you reaching but I don’t care … My @’s too good for you,” Banks assumed it was aimed at her and unleashed a tirade of abuse, including the accusation that Malik was only in One Direction “to draw brown attention”.

    Responding to the festival’s decision, Banks tweeted: “To all of my Darling UK fans who bought tickets to see me at the Rinse FM show. My sincerest apologies!!!!!

    “But you know Mama Puma always goes in for the Kill. And NEVER backs down.”

  • Stephen Staunton’s ‘dramas of colour’ make Headway in Bethnal Green this month

    Stephen Staunton’s ‘dramas of colour’ make Headway in Bethnal Green this month

    Birds by Stephen Staunton, who became an artist after sustaining a traumatic brain injury.
    Birds by Stephen Staunton, who became an artist after sustaining a traumatic brain injury.

    In 1991 Stephen Staunton – an artist originally from Galway in Ireland and now living in north London – sustained a traumatic brain injury in a road traffic accident. As a result, Staunton is deaf and uses very little language or formal signing, instead “communicating through gesture, isolated words, vocalisations, and the physical resources of his surroundings,” according to Headway East London, a Haggerston-based charity that supports people affected by brain injury.

    Staunton began attending Headway in 2007, where he started painting. Nine years on, and an exhibition of his work – described by Headway as “patchwork dramas of colour” – is on display this month at the Gallery Café in Bethnal Green, sponsored by the Whitechapel Gallery and curated by Steph Hirst.

    “I think Stephen’s paintings are partly expressions of an unusual way of seeing,” reflects Bryn Davies, co-ordinator at Headway. “He paints as if he’s at home with the social lives of colours. Stephen’s works usually begin from a source image, but they quickly take on a life of their own. He works with a mixture of careful planning and off-the-cuff gusto.”

    Chinese Ladies by Stephen Staunton.
    Chinese Ladies by Stephen Staunton.

    Staunton developed his practice in Headway’s art department, known as Submit to Love Studios. Davies explains that the studios are a central part of Headway’s work. “Art gives an opportunity for our members to express themselves and their relation to the world in an atmosphere of collaboration and mutual support,” he says. “Such projects also open up conversations which will hopefully lead to a deeper understanding of the difficulties and talents of brain injury survivors.”

    Staunton himself gave a talk on his paintings on 5 May at the Gallery Café, followed by a musical performance by other Headway members.

    Steven Staunton Paintings
    Until 31 May, Gallery Café,
    21 Old Ford Road, E2 9PL
    whoareyounow.org

  • Aviary exhibition wings its way to Transition Gallery

    Alice Sielle, Raven facing right 620
    ‘Raven Facing Right’ by Alice Sielle

    You don’t have to be a twitcher to enjoy birdwatching in East London, as a new exhibition of drawings, paintings and sculptures of birds attests.

    Aviary, which is at Transition gallery this month, is an exhibition of paintings, sculptures and drawings of birds by 16 artists.

    “It’s not a big space, and it’s quite high up as well, so we really want to ram it so you step into something that feels animated with all these birds,” says painter Matthew Krishanu, the exhibition’s co-creator.

    Acorn & Jay Rose Wylie 620
    ‘Acorn & Jay’ by Rose Wylie

    Three of the artists in the exhibition (Sutapa Biswas, Aubrey Williams and Rose Wylie) have works in the Tate collection.

    Krishanu will be displaying some of his own paintings of crows, and traces his interest in the birds back to his childhood growing up in Bangladesh.

    “We’d often see crows around and I’d be fascinated by them, they’d be picking out bits of refuse on the side of the road and they’d be just everywhere,” he says.

    For Krishanu, ‘bird art’ is very different from other types of animal portraiture.

    “There’s something very domesticated about pet portraiture, whereas there’s more about the spirit of freedom when people sit down to paint birds,” he says.

    ‘Tick Bird’ by Aubrey Williams

    Aubrey Williams’ Tick Bird is part of a series of paintings of the tropical birds of Guyana, the Caribbean and South America. Krishanu says Williams’ work in particular shows how birds can be “signifiers of place”.

    “He was born in Guyana, and when his daughter was growing up he wanted to use the paintings as instructional tools so she knew about all these birds in the Caribbean and South America. Of all the artists in the show his exploration is very culturally grounded.”

    In literature, humans are regularly described as having bird-like features, and Krishanu says some artworks in Aviary function as self-portraits of the artists.

    Lonely Pigeon – Nathan Eastwood 620
    Lonely Pigeon by Nathan Eastwood

    Birds that feature in the exhibition include Alice Sielle’s Raven Facing Right, jays and a ‘lonely pigeon’. Other works include Rose Wylie’s large drawing Acorn & Jay, which incorporates text, collage and paint.

    There will also be watercolours by Sutapa Biswas, Franki Austin’s glasswork and porcelain bird sculptures by Annabel Dover.

    Aviary is at Transition Gallery, Unit 25a Regent Studios, 8 Andrews Road, E8 4QN until 21 May.

  • After Independence: staging the politics of Zimbabwe

    Stefan Adegbola as Charles in After Independence at the Arcola. Photograph: Richard Davenport
    Stefan Adegbola as Charles in After Independence at the Arcola. Photograph: Richard Davenport

    A few years ago, playwright May Sumbwanyambe sat down to watch The Last King of Scotland with his father. The film tells the story of a white Scottish physician who finds himself embroiled in African politics after he treats the former Ugandan leader Idi Amin.

    “How did we become comfortable with stories being told like that?” Sumbwanyambe recalls thinking. “No other black man in the film has any agency apart from Idi Amin.”

    Sumbwanyambe’s new play After Independence opens at the Arcola Theatre this month. The play aims to shine a spotlight on the deeper complexities of power and politics in post-independence Zimbabwe.

    As a playwright, it is details that interest Sumbwanyambe, what he calls “the tangled web you’re allowed to weave together in the theatre” that draw out nuance to encourage a more balanced conversation around African politics.

    Sumbwanyambe’s father was himself the physician to the first president of Zambia, so stories of what it means to be black and free have always been part of the playwright’s consciousness.

    And although childhood visits to family in Zimbabwe and Zambia have fuelled the material of the play, it wasn’t until the concept of independence touched his own life that Sumbwanyambe decided to write about post-colonial Africa.

    Born in Scotland but raised in Yorkshire, Sumbwanyambe was not eligible to vote in the Scottish independence referendum but was nonetheless confronted with the question of identity.

    “I have always ticked the box Black-British,” he says. “But now I might have to choose between Black-English or Scottish.”

    It was this that led him to think about its parallel in his father’s country. Sumbwanyambe was in Zimbabwe when white farmers saw their land forcibly confiscated without compensation. This created an even more complex political scene in which corruption was rife, and generations of different classes and races sought justice.

    “It’s so much more complicated than saying it’s just Mugabe,” he says of some journalism’s tendency to oversimplify.

    Sumbwanyambe came to writing relatively late, having completed his undergraduate degree in law. But now he increasingly finds questions of jurisprudence creeping into his work.

    “I want to look at these stories in a nuanced and balanced way,” he says. “I’m not in interested in buffoonish black dictators.”

    After Independence is at Arcola Theatre, E8 3DL until 28 May