Black Power Desk – Brixton House

Theatre has rarely felt this alive, urgent, and unapologetically Black. Black Power Desk, an original musical directed by Gbolahan Obisesan, is a searing, soulful exploration of sisterhood, grief, and resistance, set against the backdrop of the covert operations of New Scotland Yard’s infamous “Black Power Desk” in 1970s London.

Loosely inspired by the Mangrove Nine, the play follows two sisters, Celia (Rochelle Rose) and Dina (Veronica Carabai), as they navigate love, politics, and survival in a Britain defined by racial tension and state surveillance. The result? An electrifying blend of theatre, live music, and political storytelling that refuses to soften its edges.

The entire ensemble delivers powerhouse performances, seamlessly balancing individual brilliance with collective chemistry. Celia, played by Rochelle Rose, commands the stage with a vocal range that borders on the divine. Dina, brought to life by Veronica Carabai, matches her sister beat for beat, and their duets are simply transcendent.

One standout moment sees the male cast erupt in a driving, rhythmic number upon discovering the existence of the Black Power Desk. The energy here is electric, very reminiscent of Steppin’ to the Bad Side from Dreamgirls but infused with the grit and urgency of London’s Black activist movement.

The production design is nothing short of mesmerising. Natalie Pryce’s set plunges you straight into 1970s Notting Hill with culture and movement, though I couldn’t help wishing they’d leaned even deeper into its distinctly North West London identity, the history here is rich, and there were opportunities to make it even more textured.

The live three-piece band, led by Daniel Taylor, is the heart of the production. From R&B to reggae to soulful lover’s rock, the score immerses you fully in the political and cultural rhythms of the time. The clever integration of radio news reports and arrest updates amplifies the tension, while Prema Mehta’s lighting, especially the striking use of green washes, keeps the atmosphere simmering with unease and hope in equal measure.

Black Power Desk doesn’t shy away from heavy themes, police brutality, surveillance, sexual violence, but its treatment of certain moments feels inconsistent. The depiction of racialised slurs, for example, feels less necessary than intended; while the creators may aim for authenticity, at times it plays like shock value for white audiences rather than serving the narrative.

More troublingly, the storyline involving the undercover police officer who impregnates Celia is framed but never fully confronted. Rape is hinted at, raised briefly in court, and suggested again through a female white officer’s commentary, yet the narrative sidesteps its gravity. For a story centred on Black women’s resilience, this felt like a missed opportunity to name violence explicitly rather than softening its edges for palatability.

And while this criticism comes from a place of deep love for the work, I can’t help but ask: must we keep writing “strong Black women” into pregnancy and violation arcs? There are other ways to portray vulnerability, power, and survival.

Despite its narrative gaps, Black Power Desk is a monumental achievement, a five-star triumph that fuses political urgency with sonic brilliance and breathtaking performances. It’s a story of resistance and sisterhood, but also a love letter to a generation often erased from British history.

Urielle Klein-Mekongo’s book and lyrics, paired with Renell Shaw’s dynamic musical composition and Gerel Falconer’s “rapperturgy,” give the production an unmistakable edge. This is not a passive night at the theatre; it is a call to witness, to feel, and to remember.

If the creative team lean even harder into the untold truths of our history, unflinching, unapologetic, Black Power Desk could, and frankly should, have a future beyond Brixton House. A West End transfer wouldn’t just be deserved; it would be necessary.

Black Power Desk runs at Brixton House until 28th September 2025. https://brixtonhouse.co.uk/

Reviewer: Zandra Odetunde

Reviewed: 11th September 2025

North West End UK Rating: