Josette Simon: From Blake’s 7 Trailblazer to RSC Star – and Why ‘Colourblind Casting’ Isn’t the Answer
Josette Simon, a name synonymous with both groundbreaking science fiction and Shakespearean gravitas, reflects on a career built on resilience and a refusal to be defined by limitations. When asked if she remembers seeing herself represented on screen growing up, her answer is immediate: “No.” A lack of representation that ultimately fueled her determination to become the figure she needed as a child, paving the way for future generations of actresses.
Simon’s journey hasn’t been easy. While still at drama school, she was bluntly told by a principal that a career at the Royal Shakespeare Company (RSC) was highly unlikely, “because of the old brown,” as she recalls. That discouraging prediction proved spectacularly inaccurate. She has since appeared in 50 RSC productions, a testament to her talent and unwavering commitment.
Her breakout role came in 1980 with Blake’s 7, where she played Dayna Mellanby, a pioneering woman in the world of science fiction. Beyond Blake’s 7, Simon’s career has spanned stage, television, and film, with roles including Chief Superintendent Clark in Broadchurch, Mnemosyne in Wonder Woman, Lydia in Steve McQueen’s Small Axe, Eithné in The Witcher, Angela Regan in Anatomy of a Scandal, and Talitha in Bridget Jones: Mad About the Boy.
“For me, at school, then at drama school, then when I went into the profession, there was never anybody who looked like me that I looked up to,” Simon remembers. “I had to rely on myself a lot. I kind of had to be my own mentor. There were so many obstacles. There were so many people saying ‘You can’t do this,’ and ‘You won’t do this,’ and ‘You’re not allowed to,’ and all the rest of it.”
Despite the challenges, Simon found inspiration in established actresses like Dame Judi Dench, Glenda Jackson, and Dame Helen Mirren, the latter of whom “took me under her wing” during a 1982 RSC production of Antony and Cleopatra. That early experience with the RSC, initially in small roles, marked a turning point, making her the first Black actress to appear in a leading role for the company with Rosaline in Love’s Labour’s Lost in 1984.
Simon’s connection to Shakespeare deepened with subsequent leading roles, including Isabella in Measure for Measure (1987), Titania/Hippolyta in A Midsummer Night’s Dream (1999-2000), and a return to Cleopatra in Antony and Cleopatra (2017-2018). She describes Shakespeare as “the greatest writer ever, because he covers every condition, every sex… He’s the most incredible writer about women.”
Her pioneering work at the RSC often falls under the umbrella of “colourblind casting,” a term Simon finds problematic. “I absolutely hate the term ‘colourblind casting’,” she states. “I hate the term ‘Black actor’. I’m an actor, we’re actors, and we happen to be Black… You don’t say ‘white actor’, you just say actor. When you say ‘Black actor’, you’re still doing the othering thing.” She emphasizes the importance of being seen as a human being, not a “Black human being,” and of portraying characters with universal experiences, rather than being confined to stereotypical representations.
Simon’s impact extends beyond her own career. Actress Noma Dumezweni, known for her role as Murderbot, credits Simon’s portrayal of Dayna Mellanby in Blake’s 7 as a pivotal moment. “The first time, when I was young, that I saw a possibility of myself being an actor was actually Josette Simon in Blake’s 7,” Dumezweni shared. “A dark-skinned, Black woman with short hair… She made me see myself as possible.”
Simon approaches each role as if it’s being created for the first time, ignoring past interpretations and focusing on bringing a fresh perspective to the character. She acknowledges the pressure of being a trailblazer, but ultimately prioritizes understanding the character’s core essence. “I had to learn about that right from the very beginning… I treat everything as if it’s the very first time it’s ever been done. It’s the very first time anyone has ever seen it. It’s the very first time I’ve ever known about it.”
Looking ahead, Simon remains focused on challenging and stimulating work. While she admits she doesn’t particularly love science fiction, she embraced the role of Dayna Mellanby for its complexity, and opportunity. She is encouraged by the increasing number of female-led productions, particularly those driven by women heading their own production companies. “I think we’ve come a lot further along the path, where we see females as protagonists, much more, rather than women just being a cipher to a male hero.”
With news of a Blake’s 7 reboot on the horizon, Simon responds with a laugh, acknowledging the widespread attention. She jokes about the possibility of a low-budget production, reminiscent of the original series, but ultimately expresses excitement about the potential for a new generation to experience the world of Blake’s 7.