Black Power Desk – Brixton House, London

Book: Urielle Klein-Mekongo

Lyrics: Urielle Klein-Mekongo and Gerel Falconer

Music: Renell Shaw

Director: Gbolahan Obisesan

Black Power Desk, a joyous community melodrama based on the nascent British Black Power movement of the 1970s, blows up any notions of politeness in depicting racial tension to its audience. Inspired by the actions of a Scotland Yard task force to investigate Black Power movements in the UK, Black Power Desk rightfully focuses on the community that is impacted by Scotland Yard’s interference. Highly political, highly personal, with equal parts beautiful and bombastic musical numbers, Black Power Desk is a fresh interruption to the London musical theatre scene.

From the outset, Rochelle Rose commands the stage with her singing voice. On multiple occasions, she draws tears and gasps from across the audience with trills that contain wells of sorrow within them. At times, the show lacks polish, particularly in its movement and dance, but the combination of Rose’s voice with an excellent live band rapidly wins the audience back around.

Black Power Desk’s depiction of the legal process is tenuous at times, but the fundamental story of systemic oppression reverberates with emotional truth to this day. Language may have changed since the 1970s, but the core issues have not. Urielle Klein-Mekongo’s book is unafraid to offend. It pulls no punches and can, at times, shock with its racism and misogyny. But it is never gratuitous, and it is always a true mirror to the problematic society that Black Power Desk depicts.

Despite the bravery of Klein-Mekongo’s book, there are some pacing issues which lead the piece into melodramatic territory. Too many major events are packed into too short a time (particularly towards the end of the first act), and this has a negative impact on the audience’s empathy for the characters. This contrasts with the tone of the drama and comedy, which are not played towards melodrama, and leaves the piece feeling somewhat tonally disconnected.

Natalie Pryce’s set is clever; levels and layers in limited space. While not every one of Renell Shaw, Klein-Mekongo and Gerel Falconer’s songs hits as hard as others, when they reach the heights of what they can achieve, they are up there with any major West End production. Overall, one feels in safe hands with the production team of Black Power Desk and its cast. Performances are confident and held by a physical and musical structure that operates with harmonious professionalism.

Like the protests it depicts, Black Power Desk may not have every niche of its argument perfectly honed, but it’s not afraid to sing what needs to be sung and shout what needs to be said. It’s refreshing, it’s important, and it’s a great night out.

Runs until 28 September 2025