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Winston Pinnock and April de Angelis were in it, too, and they ended up doing really well.
I didn’t stay long in the group, instead joining the youth theatre there, improvising and making a play called Women and Sisters, which was about black and white women freedom fighters.
But, despite her numerous accomplishments and the air of confidence she now radiates, she’s also completely down to earth when we meet in a studio in Belsize Park one early -morning ahead of a day’s rehearsals for the play that has brought her back to the London stage, and more specifically the West End.
Also a lot of it I didn’t really understand while I was there.
She admits, though, that she was once cripplingly shy: “One of the things they made me do at drama school was cut my fringe or pin it back, so I couldn’t hide behind it.
When I started doing -auditions, I was so shy it was hard to get over the talking bit; I could do the acting fine.” Today, she passes the talking test with flying colours.
“I wasn’t sure what I wanted to do, but I saw an ad in Time Out and I started off in a writing group there.
Hanif Kureishi was running it and we’d meet a couple of times a week.
They’re a generous, hard-working, lively and fun group to be with – and that’s the tradition I grew up in.” The play she is working on is a revival of Edward Albee’s provocative late masterpiece The Goat, Or Who Is Sylvia? It has just opened at the West End’s Theatre Royal Haymarket this week.