BAFTA Breakthrough is returning for its 12th year and to celebrate The Floor Mag is taking a look back at some of our previous interactions with former recipients and exploring where they are now in their careers.

The Floor Mag sat down with playwright, Joy Nesbitt and assistant director, Marley-Rose Liburd to discuss the production’s use of Hoodoo tradition, its ties to the diaspora, and the importance of portraying Black women as ordinary.

The embedment of queerness into a seemingly romantically heterosexual story was a great touch, which I think appealed to the audience in a way other love stories on stage don’t. As soon as the host (Michael Rishawn) addressed the “gays” in the audience, there were a significant number of cheers! Representation is essential in contemporary art, and that expands beyond race.

Though the characters are completely different, their stories are parallel, in a sense that the adolescent pressure to be accepted can easily influence you to mold yourself into someone that is so far from your core being.

"These are things that only seem to be getting worse the more we are under the control of a very small group of people. For me the film is a constant reminder that resistance isn't dangerous, resistance isn't problematic…”

“I was really excited about what was coming next, but also really terrified. It was very much like uncharted territory in both ways, and I think that also applied to romantic relationships. Uni is one of the first places where a lot of people get to explore that on their own terms, and so I think there was also that in the air, and always like being with my friends to kind of share stories about the many situations we found ourselves in, and like how ridiculous they were too.

“It's a huge honour for them (the RSC) to receive the story that we're telling as Black people… to be able to truly bring work and art that may not be seen in certain spaces and change people's perceptions and let them know that the continent is amazing. We have stories that are so rich in culture and history, and they are Earth changing.”

An Ideal Husband has since been revived in multiple iterations, both on screen and on stage. What made this different to the previous iterations, such as the 1999 film, was the very obvious fact that all the characters were written to be black instead. I like the way that this turned the story on its head, as nobody seemed out of place, despite the fact that if we were in the 1800’s they [characters] wouldn’t be in the positions of wealth and power that they were in.

I've always wanted to be Lady Macbeth, but we broke down how many scenes she has, and like, the fact that she is there to aid Macbeth's story. And it's not really her story. It's not about her. And these are characters that I've wanted to be so badly. And it's like, we are never at the centre of these stories, really.

From the return of Ballet Shoes at the National Theatre and Ballet Black’s SHADOWS at Sadler’s Wells, to women going through it at Theatre 503 and the Royal Court, this week in theatre is a feast for the senses.

The beautiful thing about this play was how much it still felt like home regardless of the fact that the play was centring the black male experience. It really is a relatable watch for anyone, despite where you land on the crossroad of intersectionality.

What have some of your favourite recipients of BAFTA Breakthrough been up to since their appointments and where can you see them next?

Love, Brooklyn is a story about modern dating, the toppling and tumbling but the presence of black people at the helm of it makes it in Holder’s words “radical”.

The documentary Fearless celebrates women from the Windrush generation that are rarely seen on screen: six elders in their late 70s to 90s who journeyed from the Caribbean, South Asia, and Ireland to Britain decades ago.

54.60 Africa is a piece of work that is more than a play, embedding the movement, sound and culture of Africa as a continent in a way that I haven’t ever seen on stage before. 54.60 writer, Femi Elufowoju jr, presents us with a story following 11 friends from all ends of the continent, being instructed by ‘Mama Africa’ to seek the truth and stories behind all 54 countries.

Newcomers Chenée Taylor and Akins Subair break down their roles in the brand new BBC Three show ‘Just Act Normal’, embracing growing up and character development.

Ivanno Jeremiah, who stars as Sidney Poitier in Ryan Calais Cameron’s latest West-End hit, Retrograde at the Apollo Theatre speaks to The Floor Mag.

Ryan Coogler's Sinners, out in cinemas now , is a masterful blend of historic realism and supernatural horror, set against the backdrop of 1930s Mississippi – and this time, sets vampires up under the guise of colonialism.

Directors Shola Lynch and Reginald Hudlin on their latest project focusing on black Hollywood, two-part series Number One on the Call Sheet.

Star performances came from all cast members, particularly Arinzé Kene and Karl Collins with their impeccable one-liners and comedic timing.