Isabel Adomakoh Young, 28, describes herself as a queer actor, and writer of English and Ghanaian origins with a determination for social change. She played Juliet (Black British Theatre Awards lead actress winner) in Open Air Theatre Regent Park’s Romeo and Juliet in summer 2021. Susan Elkin spoke to her.
How did you get into drama?
When I was about seven, I took part in several week-long drama parties. A bit like summer school but our parents organised it and brought in directors. It was basically dressing up and having fun!
What about school?
I went to a state primary school in West London, where I grew up and then to Latymer School. There was a great deal of drama there, but it all seemed a bit cliquey, and I didn’t get involved much although I did do some interactive theatre at festivals where I could develop freedom around performing.
And thence to Cambridge to read English?
Yes. And that was where I really started to do a lot of drama. The first show I did was directed by a friend. It was an all-female, all black project and since there were only about ten of us across the whole university she said “Come on Isabel, you’ve just got to audition.” I got my degree in spite of my acting which developed in a new direction just before I left. We formed an all women, non-binary drag show called Pecs and toured a lot. It’s cabaret format but we work in theatres too.
So was that the career decision made?
Not really. Writing is my other strand. When I was little, my mum (author Louisa Young) would make up bedtime stories for me. When I was about seven, I asked her to write them down which led, eventually, to three Lion Boy books which have sold worldwide and been translated into over 30 languages. I was the official co-writer because Mum said she collaborated with me throughout. I even edited them insofar as a child can. Going to work for a literary agent after university seemed like a logical job and I loved it but…
Performing drew you back?
It did. I did a month’s training with Talawa (an all-black company based in Croydon), some work with National Youth Theatre and got an agent. Then I was selected for the nine-month NYT Rep which was a wonderfully high quality experience. We worked with top directors and then got to do three shows in London venues. All this still seems unbelievable – I was so fortunate.
What was the first job?
I went straight from NYT Rep into a nine-month contract with the RSC in Stratford. We did Venice Preserved and The Provok’d Wife. I was ensemble, which meant I was on stage a lot in minor roles, and understudy to several leads. I learned a huge amount from being with experienced, well-known actors. And because the RSC stages understudy shows I actually got to play those big roles a few times too. How lucky is that?
And then the pandemic?
Yes, I was rehearsing Milky Peaks, a new musical co-produced with Theatre Clywd, when the axe fell. My mum drove to Wales to collect me because I’m asthmatic and we’re very careful. But luck was with me because when theatres reopened, I was cast as Juliet in Regents Park and, as you know, it went down rather well.
What are you doing at present?
Film and TV work. The show I’m working on at present, and I’m not at liberty to tell you what it is, has just finished filming in Ireland and, all being well, will be filming in Tenerife at the end of January. In a way it’s better placed to keep going than theatre because there’s more money to pay for what needs to be done. We test frequently, wear masks and have Covid monitors on set. I think all this is very important by the way. Safety matters more than anything.
You have strong political views. How optimistic are you for the future?
Well, whatever happens in the arts it will be the fringe/queer sector which feels the most impact. Yes of course big institutions should be funded but so should small ones. There’s far too much bickering between institutions too. That shouldn’t be happening. The present hiatus ought to be an opportunity for recalibration, but that can happen only if some people leave. Having said that, when something ends, something new starts. We will always need, and make, art.
How far do you believe that any actor should be able to play anyone?
Ideally, I’d argue that anyone can play anyone but it isn’t as simple as that. It will be thousands of years before I accept, for example, that it’s OK for white actors to black up. And I was uneasy about Eddie Redmayne in Danish Girl. He can have any job he wants. Why did he have to take that one? But he said recently that he wouldn’t take it now and I admire his grace.
What would you like to do in the future?
I’d like to pick more of my own projects – the ones which align with my political leanings which could be developed into shows. As an activist I want to tell stories which change things. But having said that, I also love working on other people’s projects – of course. I hope to do more writing one day too. I have an idea in its early stages which I might develop into a play.