Ahead of the opening of Cyrano de Bergerac in London’s West End, we speak to actress Anita-Joy Uwajeh about her journey to the stage, being a Black woman in a leading romantic role – and what it’s like starring with a Hollywood A-Lister
Fresh from the critically acclaimed run of Two Trains Running by English Touring Theatre, and King Lear at Duke of York’s Theatre, Anita-Joy Uwajeh is keeping the projects rolling as the romantic lead in Cyrano de Bergerac, Edmund Rostand’s tale of love, combat and insecurity.
Having studied Ancient History and Archeaology at university, this is surely something that, just a few years ago, would’ve been hard to imagine – let alone acting alongside Bafta-winning actor James McAvoy. However, her talent and hard work has seen her climb and climb – with plenty more to come in 2020 and beyond. We caught up with Anita-Joy ahead of opening night, and she filled us in on just how relatable the play is – and what she’s learned from working alongside a celebrity actor…
Hi Anita-Joy! Let’s start at the top: how would you describe the story of Cyrano de Bergerac, and your character in it?
Anita-Joy Uwajeh: The traditional story is about a soldier called Cyrano who has an abnormally large nose, and this nose is sort of a deformity that everybody is aware of, including himself. Because of this, it sort of holds him back from expressing how he feels to women – in particular, to Roxane, the character I play. Because of this nose, this insecurity with himself, he sees himself as quite ugly. He’s unable to express how he feels about her, and how much he loves her – but he’s talented with language, and ends up writing her love letters on behalf of someone else. Roxane falls in love with the language and thinks she’s falling for ‘Christian’, who’s giving her the letters – but perhaps, it’s actually Cyrano…
I’m always so happy to see a Black woman in the role of love interest, rather than as the ‘sassy sidekick’ as many other productions have relied upon. What’s it been like playing this type of role?
Really amazing, mostly because I’m a very proud Black woman, and I wouldn’t want to be anything else – but it’s lovely to able to do a role whereby my race is not a factor, it’s just who I am. At the forefront of the role are all the qualities that I hold as a woman, regardless of my ethnicity. So it’s been really wonderful, and refreshing to be a part of something where I get to play a human being, who isn’t “this” or “that” – I get to portray someone with the characteristics of everybody. I’ve done this kind of role before, in Shakespeare – unless it’s Othello, characters can basically be of any race. And, sometimes, of any gender.
What do you think it is about period pieces that lend themselves well to ‘colour blind’ or ‘gender blind’ casting?
I think particularly in theatre, the art of imagination is really being explored and paid attention to; we’re allowing audiences to imagine that we are in a time where we did have people who weren’t just white playing these parts – and actually, it’s a deeper reflection of the history of the UK. I think sometimes we think that there haven’t been Black or Asian people, or people of mixed heritage here. People think they’ve only arrived in the last 50 or 60 years, when actually, the history of Britain suggests that people of a darker hue have been in this place for a lot longer than perhaps the media would like us to think. I think that’s amazing that we’re starting to see that reflected, particularly in theatre. I think it’s a wonderful way of educating people and getting them to know that immigration didn’t start when we joined the EU. It started way before then.
Cyrano de Bergerac was written in the 19th Century, and set in the 17th Century – but it’s still being performed here in the UK, as well as on Broadway, in the United States. Why do you think this play is still attractive to a modern audience?
I think all the characters resonate with modern audiences, but Cyrano himself – yes it’s about a man with big nose, but at the heart of it, it’s about the insecurities we all have. We all have a ‘big nose’ in some kind of way. We’re insecure about our intellect, or our ability; our bodies. I think this play speaks to everybody in that sense – we can’t allow our insecurities to hold us back. I think this play also shows us that we have other talents and other ways of being beautiful, not just what’s on the outside. I know it sounds incredibly cliché, but I think it’s so important for today: there’s Instagram, and so much stuff on social media that talks about the outside of us and I think it’s important for people to see that what’s actually going on within is equally as important, if not more important, because it gives real substance to all of us.
The lead character, Cyrano, is played by James McAvoy. What’s it like acting with him?
(She laughs.) It’s amazing. He is incredibly talented; I think that’s very obvious from the type of work that he’s done and continues to do. It’s really refreshing for somebody of his celebrity stature to still come to this work from a real craft angle. He applies himself 100%, and I think that’s an incredible way to lead a cast. It’s been a delight. In fact, working with him has shown me that humility doesn’t come from lacking in confidence. You can have the two – you can be confident and humble at the same time. I’ve also taken away the fact that the hard work never stops. He’ll constantly be like, “AJ, you want to run some lines?” And when I see that, I’m like, okay, I’ve got to be as dedicated to this. If somebody who has, in simple words “made it”, is still applying themselves as if it’s their first job out of drama school, I have to do the same. And I want to do the same.
Before focusing on acting, you initially studied Ancient History and Archaeology at university. How did you realise that acting was your calling?
I’d always done it as a child, and always loved it but didn’t really think that it was something that people did for a living. I didn’t know anybody at all who was pursuing acting as a career – until I was working part-time in a shop, and got talking to an actor in particular, and was like ‘so you actually do this properly?’ and he told me about going to drama school, getting an agent. It was speaking to actors who I’d met through a completely different type of work that inspired me to try it out professionally for myself.
What is on your wish list in terms of future parts?
I’d love to be an action hero! Recently, I’ve been like, ‘I’d love to be in a Marvel film, or the next Avatar, or Star Trek.’ Something a bit alieny; that’s definitely on the wish list. And, working with Ava DuVernay is on the wish list: I think she’s amazing. From the first film that she did, to now, I think she’s just incredible. I love this sort of unapologetic-ness that she has to her work … I’d just be so excited to work with her.
And finally, what are you excited for in 2020?
Well I’m excited for Cyrano – it starts in 2019 but continues on in 2020. I’m also excited for just what else is out there. There’s some really incredible work that I feel will be made in 2020, and I’d love to feel a part of that. Also, the Olympics in Tokyo is coming – excited for that! I love the Olympics. And randomly, I’m excited for my cousin who’s about to get married – there’s so much to look forward to.
Cyrano de Bergerac is at the Playhouse Theatre, Northumberland Avenue, Charing Cross, London WC2N 5DE, from 27 November 2019 to 29 February 2020. Box office: 0844 871 7631. atgtickets.com/venues/playhouse-theatre
