Falconer, known as a ‘Rapperturg’ for his blending of theatre with UK hip-hop, grime and drill, explained why this music is central to the score: "Hip-hop in its purest form is rebel music. It empowers the disenfranchised by providing knowledge, highlighting injustices and mobilising against oppression."
“What's sonically special was weaving in flows from other rebellious genres – dub poetry, punk and drill over ‘70s-inspired backing tracks. It was important to show that, to this day, people are still using music to fight for equality."
Brixton House chair Levi Roots, who experienced the brunt of systemic racism in ‘70s Britain, has long emphasised the importance of reclaiming narratives of Black British history "to better understand who was responsible for the issues we face today."
"I came up during that time and the play's storyline will bring a lot to the surface," he told DJ Mag. "The Mangrove Nine trial especially drew a line in the sand. Seeing and hearing Black Power Desk echo that struggle will take me back to the urgency of that time and remind me of how we used culture – music especially – to hold each other up."
He said the play doesn’t just teach but "transmits" something. "I think it can shift how people understand Black British history – not as something marginal but as foundational. And that shift is vital, particularly now when there’s so much noise and so little truth."
Following its month-long showcase at Brixton House, Black Power Desk will be touring major UK theatres including the Birmingham Hippodrome, Warwick Arts Centre and The Lowry in Manchester.
Get tickets and find more information about Black Power Desk here.