Zakiyyah Deen on failures in Black women’s maternal healthcare
In Why A Black Woman Will Never Be Prime Minister, Zakiyyah Deen has created a powerful dramedy that takes aim at the inequalities faced by Black woman today, especially the poor provision of maternal healthcare. Mixing satire, spoken word, and narrative, this show is inspired by Black mums’ provocations, inspirations, and conversations – especially her own mum, and uses poetic verse and humour to kick back at the “increasing f**keries in politics”.
We sat down with Zakiyyah ahead of the show’s run at the Camden People’s Theatre to find out what inspires her and what is frustrating about contemporary politics.
What inspired you to make this show?
This show was born from frustration: seeing the lack of attention around Black women’s maternal health really hit home for me. During Lockdown, I was having deep conversations with my mum, who’s a doula, about the staggering stats and the way Black women’s health issues get swept under the rug. This play is about making those frustrations heard, but also about taking a hard look at our political system and how it fails people like Shanice, our protagonist.
What can we expect from the show?
Expect a mix of realness and wit. The play’s a dramedy, so there’s satire and spoken word, but also moments that really get to the heart of things. Shanice, a young Black woman from London, crosses paths with John, a rising politician, and it reveals some big issues and unexpected similarities. You’ll see how personal experience can clash and coexist with political ambition, and how both our lead characters navigate identity, politics, and what it means to truly represent ‘the people’.
The show has a provocative title. Is a strong title important for a fringe production?
Absolutely, I love a title. It’s one of the first things people see, so I want it to leave a mark. I like using titles that grab attention and make people so this one’s no exception. Another piece I’ve done was called I Look Like an Uncle, which was all about me coming to terms with my alopecia. Titles like these help spark curiosity for potential audiences and set the tone right from the start.
Your show fuses satire, spoken word, and narrative. How do you balance the needs of these different approaches into a cohesive production?
It’s all about finding a natural flow and letting each form do its work without overpowering the others. Satire lets us dig into tough issues without being too heavy-handed, while spoken word gives Shanice’s journey this raw, emotional edge. Narrative ties it all together, keeping us grounded in the story. Each form has its moment to shine, and the aim is to keep the audience on their toes, engaged, and ready for the next layer.
What are the challenges of putting on a fringe production at a small venue?
Fringe is always a bit of a hustle! Resources, time, money – it’s all limited. I’m lucky Camden People’s Theatre believed in the vision and backed us, but as John says in the penultimate scene, “A budget can only go so far.” My team’s been incredible, though. They’ve managed to make magic happen, and we’ve worked with what we’ve got to create something we’re proud of.
You said this show was conceived out of frustration with the lack of attention toward Black women’s maternal health. What are the challenges affecting pregnant Black women today?
The stats are shocking. Black women are more likely to die in childbirth than White women, and it’s not just about health but also about how Black women’s pain and needs get dismissed. There’s a whole system of inequality that affects Black mothers, from lack of proper support to the racial bias they face in healthcare. I hope the play sheds light on these issues and starts a conversation that’s been missing for too long.
You also take aim at the “increasing f**keries in politics”. What about contemporary politics frustrates you most?
There’s all this talk about diversity and ‘we’re all in this together’, but the reality is different for communities on the ground. It’s like there’s this constant mismatch between what’s promised and what’s actually delivered, and people are tired of it. Through John and Shanice, we’re able to see both sides and question what ‘representation’ really means.
You thanked all Black mums for provocations, inspirations, and conversations, especially your own mum. How have the experiences of Black mums shaped this show?
I wouldn’t be here without Black mums, both literally and in spirit. Their stories, strength, and resilience are all over this play. My mum’s a big influence, being a birth worker and constantly talking about these issues. And then there are women like Lorna Phillips, the Birmingham Doula, who’s out there advocating for Black maternal health. These women have helped shape the play, shaped me and reminded me that their stories need to be at the centre of it.
Who are the Black female politicians that inspire you? Not just in the UK, but around the world.
Honestly, community leaders and activists are who inspire me most. They’re out here on the ground, pushing for change without the spotlight. Charities like Sistah Space, which supports Afro-Caribbean heritage women affected by domestic and sexual abuse, are making a real difference. They might not be in parliament, but their work is vital. Those are the people who motivate me.
What do you think of Kemi Badenoch? Will she be the next Tory leader?
You’ll have to come and see the play! Shanice has a thing or two to say on this, and trust me, she doesn’t hold back.
If you could meet one Prime Minister, who would it be? Living or dead.
Honestly, I’d rather sit down with a few activists and community leaders. Politicians talk a lot, but these are the people making things happen on the ground.
Thanks very much to Zakiyyah for taking the time to talk with us about this important work.
Why A Black Woman Will Never Be Prime Minister plays at the Camden People’s Theatre until Saturday 9th November. Further information and booking details can be found here.
You can read our review the show here.
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