Play Details
Context
Artistic Director
Max Stafford-Clark
Dates Performed
Tuesday 13th February 1979
Jerwood Theatre Upstairs
Play Details
Synopsis
London, late 1970s: A cramped bedsit where dreams of belonging collide with the harsh realities of racism
Gabriel, a black man struggling to find his place in a hostile Britain, delivers a searing monologue that lays bare the ugly underbelly of racial tension in 1970s London. As he recounts his experiences and interactions with members of the National Front, Gabriel reveals the painful contradictions of his existence. Desperate to belong, he finds himself parroting the racist rhetoric of those who reject him, even as he grapples with the knowledge that true acceptance remains frustratingly out of reach.
Through its examination of themes such as belonging, identity, and societal prejudice, Full Frontal offers a powerful critique of racism in Britain while highlighting the complex psychological toll of living as an outsider in one’s adopted home.
Cast & Creative
Cast
Winston Ntshona
Designer
Jim Clay
What our readers say
What is it like reading this play now?
The 2020s intensified anti-immigration sentiments, echoing the Brexit era. Asylum seekers in the UK now face heightened obstacles, including detention and deportation. The government’s clear prejudice towards certain groups mirrors Gabriel’s struggles in trying to appease the National Front. For many, particularly those marginalised, Gabriel’s experiences hit close to home.
What does it tell us about the past and the present?
Black individuals, from Africa, the Caribbean, and beyond, still grapple with discrimination. While it may not always mirror Gabriel’s overt challenges, systemic biases, like police prejudice, persist. Other marginalised groups also face hurdles, often overshadowed by media distractions. Despite evolving narratives, the underlying biases of a white, patriarchal system remain.
What films or music does it make you think of?
Quite different in form but I think of ‘Dear White People’, or ‘Get Out’.
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