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Interview


Bruford College and bet her £5 she wouldn’t apply. “Now a fiver was a lot of money back then, we’re talking about 1979! So I said, ‘alright then you’re on!’ and I won the £5 because not only did I apply, I got in as well.” For Paulette, it proved to be a worthwhile challenge aſter all. Born in South London, of Jamaican


parentage, Randall, 49, recalls an early passion for the arts. She had written plays at school and sketches for friends where they would perform at the assemblies. “I think it was just from having a funny family. Tey were great storytellers and to me that’s theatre. Tat’s art,” she recalls, “We kind of dismiss those things, but there is always a funny uncle or auntie who could tell stories and that’s part of my heritage. Tat’s what I’m doing really, I’m a storyteller.” Paulette’s fearless ambition and no-


nonsense attitude has served her well throughout the years. But alongside her career highs she has also experienced some lows in an industry notorious for being predominantly white and male. One of her first major successes was in 1990 with the hit musical Five Guys Named Moe, but creative troubles behind the glitzy backdrop caused Paulette to walk out on the night of the first preview. “I was working with a couple of other artists who believed I wasn’t right for it. Tey were male and American and they just thought I was the wrong person to be doing this piece; which was very male and very American,” she laughs, “I’d spent the whole summer developing this musical and I thought, ‘I can’t work with people like this’ and I refused to. If the price means I have to bite my lip and stay here then I’d rather walk! So I did lose out if you like. Te irony is, a few years ago, it came back and I got the chance to direct it again. Life is funny.” And while the initial show earned a spot in the West End for three years and made substantial revenue, Paulette has no regrets about sticking firmly to her principles. A similar experience occurred when she ran the well-known, black theatre company Talawa. Aſter some irreconcilable differences, she also resigned and didn’t look back. “I really do value my happiness because it’s coupled with how I do what I do.” One particular moment she remembers


fondly was when she produced the classic 90s sitcom Desmonds. Te comedy set in a barbershop in Peckham became an iconic piece of black British television and those watching the opening ceremony, would have noticed the reference. “My first experience in TV had been the first series of Te Real McCoy and then I went to work on Desmonds. I went in as a script editor and worked my way up to producing. Tat was fantastic and I loved it! Te fact that your family could sit around and watch it


and all find something funny was quite an achievement.” For now, her passions clearly remain in the


theatre world. Her contribution to the arts has been paramount, especially, for making black theatre more accessible to audiences. While she admits that things have changed since she began her journey, there is still some way to go. “I’ve been doing this for a long time and I hope attitudes have changed towards black theatre”, she agrees, “Even if theatre is not their thing, at least they know and recognise there are people doing that”. And for the emerging breed of new talent coming through, her only advice is simple. “Trust your gut instinct and believe that you are worthy. Your own self-worth is important.”


WWW.POWERFUL-MEDIA.COM | POWERLIST 2013 19


Pic: Sharron Wallace


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