Over all four series of Netflix comedy drama Sex Education, Doreene Blackstock played Beatrice Effiong, with her on-screen son Eric played by Ncuti Gatwa. In the feature film The Colour Room, Doreene played Vera, and over her years as an actor so far, she has had guest roles in shows such as Death in Paradise and EastEnders, and in Series 1 of Wire in the Blood, she played DS Annie Reiss alongside Robson Green as Dr. Tony Hill. Doreene is set to play Miss Candaisy in the upcoming screen adaptation of Bernadine Evaristo’s novel Mr Loverman, which will be aired sometime this year on BBC One and iPlayer. As a stage actor, last year, Doreene played Flo in Jennifer Lunn’s play Es & Flo opposite Liz Crowther, and in 2021, she played Patricia in FOXES at Theatre503, before moving to sold-out performances at Theatre Peckham, ending with a six-week run at Seven Dials Playhouse, with the company winning Best Performance Ensemble award at the 2023 OFFIE Awards. Further stage projects for Doreene have included The Key Workers Cycle at the Almeida Theatre, and she worked closely with author Malorie Blackman when she appeared in Noughts & Crosses at the RSC (taking on the role of Kelani Adams QC and Lola), and on the 2019 UK Tour of the show, she played Jasmine Hadley. Speaking with Doreene, we found out from her about her time as Beatrice Effiong in Sex Education, playing Flo in Es & Flo and being part of Noughts & Crosses at the RSC and on the UK Tour.

How has it been working on Sex Education across all four series and what was it like on set?

Travelling to work on Sex Education across all four seasons was like going home to see family and the experience was made all the more rewarding as Laurie Nunn’s scripts and character stories developed deeper over the years. Life on set in rural Wales was as colourful as Eric’s costumes and make-up. We looked forward to seeing each other. I feel very lucky to have played a part in a Netflix global phenomenon.

What was Beatrice Effiong like to play and how was it filming with Ncuti Gatwa as your on-screen son Eric?

Beatrice’s truth was love. Unconditional love! A practice she demonstrated throughout the four seasons of the show, despite her fears of intolerance and banishment from immediate family and her beloved church brethren. Beatrice’s open-hearted approach to Eric’s discovery of himself and his sexual identity as a young, black, gay man, made her stronger in my opinion. It gave her the courage to stand in Eric’s corner, no matter what, she had her son’s back and I loved that about her. Her Christian values compassion, kindness and humility shone through. Playing Beatrice Effiong was a joy and working with Ncuti a privilege. His laugh is infectious, his acting choices are intelligent and he is a generous actor. We played and laughed a lot on set. Both Ncuti and I understood first hand the importance of the roles we played. LGBTQ issues are difficult to discuss openly within the black community, there can be serious consequences which, in some extreme cases, can lead to death. The Effiong Family story was a story that Ncuti and I wanted to get right.

How has it been seeing the fan response to the show and what do you think you will miss most about filming for Sex Education?

Fans don’t recognise me as the actor who plays Beatrice but as soon as I say ‘I play Eric’s mum’ in the show, the outpouring of love is instant. The fans are great and some of their ‘Coming Out’ stories are not that dissimilar to Eric’s.

When you work on a show with actors over a long period of time, you become family – I will miss the Sex Education cast, crew and creatives, we made something very special. I know friendships will endure long after the show.

What was it like playing Vera in the feature film The Colour Room and can you tell us about your character?

I loved every item of clothing Vera was given to wear. Her period costume dresses were beautiful. A lot of thought and detail went into her overall appearance. Director, Claire McCarthy, and I talked at length about Vera’s Caribbean upbringing and her marriage to her English husband. They travelled to Stoke-on-Trent when her husband was appointed vicar of the Anglican Church within walking distance of the potteries. Playing Vera was delightful and I loved wearing her (hand-made) wig!

In Series 1 of Wire in the Blood, you played DS Annie Reiss, how was this?

I was in Carnaby Street when I got the news that I had been offered the part of DS Annie Reiss and I literally jumped for joy… Shoppers were looking at me and when I shared the news to total strangers, they started celebrating too! It was a good day.

The show was filmed in Newcastle and it was bitter in winter but I learnt a lot about working in front of the camera from Robson Green, he’s a master at it and I enjoyed my time with him and the rest of the cast.

How do you find the experience filming guest roles for shows such as Doctors, Death in Paradise and EastEnders?

Playing guest roles on established shows, especially if you have a good storyline with a leading character, is great. I think actors with regular roles on a TV show appreciate the fresh energy guest actors bring to the set. Flying to Guadeloupe to film Death in Paradise was such a treat, I felt very lucky, and acting opposite Steve McFadden in EastEnders was a lesson in TV acting. People think working on TV soaps is easy but it’s extremely hard and Steve is very good at it. Plus, he’s a kind, lovely bloke.

On stage, you starred as Flo in Es & Flo opposite Liz Crowther as Es, was there anything that drew you to the play and what was it like to be part of?

It’s always the story that draws me to a play and Jennifer Lunn’s script was powerful enough reading on the page before we even got it up on its feet. Es & Flo were not the typical characters you see on stage, they are older women, lesbian, feminists, unapologetically in love, intimate and sexual. They are brave and fight for their relationship to remain when all around them is changing. Es & Flo, without a doubt, is one of the most heartwarming and important productions I have been a part of. Working opposite Liz Crowther as Es was a dream! I would happily perform this production all over again!

How would you describe Flo and what was it like getting into character?

Florence aka Flo is a staunch black lesbian feminist whose activism is reignited when her relationship with her life partner and love, Esme aka Es, is under threat by outside forces. Playing the level of devotion between these women was hard work but so rewarding and preparing to play Flo’s fiery, vulnerable and passionate journey every night was a joy. In preparation for getting into the head space of Flo, I’d recite my lines every morning alone at home, it’s a practice that helps to unearth deeper aspects of a character once the rehearsal period is over. Liz and I discovered new things about these women up until the end of the run.

What did you enjoy most about playing Patricia in FOXES in 2021 and how was it returning to the show in 2022 at the Seven Dials Playhouse?

I love playing complex characters and Patricia is complicated. Without a shadow of doubt Patricia would say she loved her son unconditionally. However, when he ‘Comes Out’ to her, her ignorance and hatred towards his queer identity is palpable. Patricia is a character I can relate to 100%. A Black Caribbean woman, devout Christian, a member of the Pentecostal Church and not LGBTQ+ tolerant. Unfortunately, this describes a large majority of the church community I grew up with as a child and teenager in Coventry. Thank god things are improving but recent events in Ghana show that we still have a way to go.

Performing FOXES during the pandemic was a STRUGGLE. A cast member caught COVID and our run at Theatre503 ended literally overnight, it was extremely upsetting so to get another chance to resurrect the production at Seven Dials Playhouse in 2022 was an enormous relief.

What was it like working alongside the rest of the cast and how was it winning the Best Performance Ensemble award at the 2023 OFFIE Awards?

Our first run of FOXES was at Theatre503, we then moved to sold-out performances at Theatre Peckham before finally settling in at Seven Dials Playhouse for a six-week run. When you work on a show with the same actors for that length of time, it’s inevitable that lasting friendships will be made. It was icing on the cake when we won the OFFIE for the Best Performance Ensemble. We were chuffed! The pandemic had been tough on our company but we got through it together. We earned this award.

Can you tell us about your time involved with The Key Workers Cycle and how different did you find this to your previous projects?

Storytelling with a company made up of professional actors and local residents was rewarding. I was one of a handful of professional actors invited to work with residents of Islington who came from all walks of life, and diverse communities to tell their stories written by professional playwrights. It was humbling performing on stage with key workers from TFL, teachers from nearby schools and their pupils, midwives, local funeral directors, dustbin collectors, social workers, courier drivers and supermarket staff. Their stories and how their lives and livelihoods were impacted by the pandemic were funny, deeply moving, courageous and entertaining. I’ve lived in Islington for over 30 years and I’ve always wanted to work at the Almeida Theatre so being a part of this special project felt good.

You have worked on the stage adaptation of Noughts & Crosses with the RSC and on the 2019 UK Tour, what was it like telling the story?

The RSC production directed by Dominic Cooke was sensational! It was the first stage adaptation of the novel and the fans were hungry to see their favourite characters come to life in the theatre. The buzz surrounding the production was exciting and all of us involved knew we were a part of something very special. Then again in 2019, new readers of the novel who were invested in the lives of Sephy and Callum beyond the page wanted to see this story accurately depicted on stage. Both productions were a huge success. I played Kelani Adams QC and Lola in the RSC production and Jasmine Hadley, Sephy’s mum, in the Pilot Theatre co-production 2019 UK Tour.

Telling a story for young people, that explores big themes such as racism, division, love, privilege and terrorism is necessary and satisfying. I loved working on both productions.

I should also mention that author Malorie Blackman worked with us every step of the way on both shows.

Where does your love of acting come from and how did you get into it professionally?

I inherited my love of acting from my Jamaican parents, who in the late 50s travelled to England and settled in Coventry, the city where I was born and raised. The Windrush Generation. As a child I observed a stream of visiting relatives from the Caribbean, who brought stories of reggae music, politics, religion, poetry, sunshine, folklore and Duppies (Ghosts!). Their suitcases were bulging with sweet smelling exotic fruits, yams and bananas. These visitors were animated, there was always laughter, they were young, energetic, full of life and mischief, despite the racism they faced on a daily basis, they still managed to smile. This colourful exuberant backdrop rubbed off on me fuelling my passion for storytelling be it on stage, TV, radio or film. After drama school, I travelled to London to look for acting work but I received my first professional EQUITY job at the Belgrade Theatre, Coventry. I returned home!

What are some of your favourite films, TV and theatre shows to watch?

I really enjoyed revisiting my childhood favourites when my son was young like Chitty Chitty Bang Bang, and Bedknobs and Broomsticks (I’m showing my age). I recently watched American Fiction, a brilliantly clever film, and Saltburn, a captivating grotesque depiction of wealth, lust and privilege… compulsive viewing… I couldn’t look away.

Whenever I need a pick-me-up, I watch Frasier, in my opinion, it is one of the best TV shows ever created. I never tire of watching it. I could watch it all day, every day!

The Inheritance at The Young Vic, remains one of the finest productions I’ve seen on stage. I was left speechless at the end of Part One, as Eric’s character is welcomed by the ghosts of men who had died of AIDS. The men appeared from the back of the auditorium before descending, one by one onto the stage to greet Eric. I, like so many watching were overcome by grief. Three family members that I grew up with lost their lives to AIDS and many of my friends at the time. When the house lights came up many of us remained in our seats unable to move and then when we did we spontaneously hugged each other. I was inconsolable and weeping in a theatre full of strangers. We had all been deeply affected by the play. This is the power of storytelling. Our Stories Matter and theatre is the place where we gather to witness the telling of our stories to each other. This is why I act – to affect change hopefully for the better.

How do you like to spend your free time?

On a beach, listening to the waves, while soaking up the sun. I enjoy catching up with my friends and eating out. I also love spending time in my local parks – all are fabulous green spaces peopled with families, noisy children and dogs, especially during the summer. In my free time, I also write, go to the gym, and listen to UK garage!!! Most importantly, I see as much theatre as I can.

Do you have any projects coming up that you can tell us about and what are you hoping this year brings for you?

I hope this year brings me a nice regular TV role in a new or established series, a job filmed abroad would be lovely and I’d like to complete my play Behind God’s Back and have it staged!

My next TV project coming up is a screen adaptation of the novel, MR LOVERMAN, written by the Booker prize-winning author, Bernadine Evaristo. I play sweet and tender, religious Miss Candaisy. She’s delightful. MR LOVERMAN will be aired on BBC One and BBC iPlayer sometime this year.

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