Reflecting on my first encounter with Sade Malone – a vibrant, resilient Anglo-Irish actress – I couldn’t help but feel a sense of time’s swift passage. Has it really come to a point where people are being named after the one-name singer of the hit song ‘Smooth Operator’? The iconic track was released 40 years ago, meaning we may have crossed that threshold years back.
“She’s spectacular and yes, my name is indeed inspired by her,” confirms an amused Malone, in response to my perplexed reaction.
The fourth year of the twenty-twenties decade isn’t yet halfway done, yet it’s already shaping up to be extraordinary for the younger Sade. Malone kicked off the year with a leading role in the indestructible drama ‘Sive’, penned by John B. Keane, staged at the Gaiety Theatre in Dublin. Prior to the end of the said production, the Dublin International Film Festival debuted with Marian Quinn’s ‘Twig’, a dystopian vision of Dublin under gang rule and a fresh take on the tragedy of Antigone – in which Malone dominated with her commanding lead performance. When we crossed paths on the red carpet, she came across as startlingly composed, as though she had been part of the industry since ‘Smooth Operator’ hit the airwaves.
“Every performance triggers a bout of nerves in me,” she confesses. “But I consider it a good thing. It’s a sign of being alive and having the adrenaline for what’s to come. On that particular night, I felt an exhilarating vibe from being part of ‘Sive’ and ‘Twig’. Letting anxiety rule over seemed preposterous.”
Our conversation turned to Sade’s past, where she recounted having a Dublin accent as a child, in stark contrast to her current northern English intonation. Her mother hails from Ireland while her father traces back to Barbados. As we vacillated between her past and present, I mused if we had enough time to organise these details in our mind.
[ ‘She brings Saoirse Ronan to mind’: Meet actress Sade Malone, who dazzled on the opening night of the Dublin International Film Festival ].
“I often feel a strong urge to narrate the extended version of my story whenever I converse with people, as I share a deep affiliation with every place I have landed in,” she narrates. “My birthplace is Rochdale, Greater Manchester. When I was an infant, we relocated to Dublin with the rest of my family before moving back to Leeds. My training ground was Liverpool, at Lipa, which is the drama school set up by Paul McCartney. Both my mum and grandfather hail from there, giving us a mixed heritage. My father’s lineage traces back to Barbados. It’s a true melting pot, something I am incredibly proud of.”
She currently resides in Leeds. According to a number of actors who had a similar upbringing, this nomadic lifestyle contributed immensely to the honing of their skills. Adapting to new accents, modifying demeanour to get along with new acquaintances is essentially what an actor does.
“Absolutely, especially when you’re in your childhood,” she adds. “It was never something I perceived as a positive or indeed anything at all, as it was just the way I was raised. As a child, you’re always attempting to assimilate with your surroundings as seamlessly as possible. I was the only coloured person in my class which in addition to my ever-changing accent made me stand out. Subsequently, I always strived to remain as inconspicuous as I could.”
She refers to her period at the Liverpool Institute for Performing Arts, which is popularly linked to Liverpool’s beloved McCartney. Co-founded by McCartney in 1996, LIPA swiftly garnered a reputation as a propitious hub for young talents including actors, musicians, and producers. One can’t help but inquire whether she had the chance to meet the music legend.
“Yes, indeed. At the graduation ceremony, you get to have the prized photograph with Paul McCartney for the mantelpiece. He is quite the visionary. His shared wisdom is a key component of the school’s ethos. The school exudes this captivating vibe. Yet, I felt I wasn’t quite prepared for a move to London. An institute in the North seemed like a more reasonable option. Spending three years in the same field regardless of the location assures expertise,” she affirms.
Even before Malone began her career, she was thoroughly immersed into the entertainment industry. During her early teenage years, she secured a role in the CBBC’s 4 O’Clock Club, an engaging drama series portraying the bustling life of a secondary school. After her tenure with the show and until her admission to drama school, she held onto her acting credentials. She took on the character of Ralph in a theatre production of William Golding’s acclaimed novel, Lord of the Flies, staged at the Leeds Playhouse. Additionally, she worked under the legendary John Godber, a revered Yorkshire playwright. Malone also graced the screen in the BBC series, Hope Street. By the time she began working in Sive and Twig, she had already gathered considerable experience in the field. This prompts interest in what, or who, guided her down this path. Perhaps a mentor or supportive family member.
Intriguingly, her mother, is a professionally trained dancer. “She’s my helper in prepping for all my auditions. A fantastic artist,” says Malone. “I tend to suggest that she should take up acting considering her outstanding talent. She is quite an extraordinary person. Landing a role in CBBC at age 14 is how I initiated my career. Contrary to what you might expect, she didn’t push. I found my way here rather fortuitously.”
As the dialogue unfolds, an intriguing element is becoming apparent – a clear hint of a Dublin accent makes its way through the Lancashire and Yorkshire tones of Malone’s speech, naturally drawn out owing to her role in Quinn’s grand crime drama Twig. A plethora of sinister crows and crime families that the authorities seem to turn a blind eye to, mould the backdrop of Dublin in the film. Malone’s character, Twig (echoing Antigone from the Greek tragedy), is one of the few brave enough to resist the oppressive tyranny from Brian F O’Byrne’s Leon, making it a contemporary spin on an age-old narrative. Malone seems eager to participate in an Irish movie, particularly one featuring a predominantly Black cast. “That was exhilarating for all of us, the entire cast irrespective of ethnicity.”, she mentioned. “Marian and Louise did incredible casting for the production. The camaraderie and chemistry we developed on set still remain strong. Two-and-a-half years later, we’re all avid attendees of each other’s performances and frequent meetings.”
The casting decision to predominantly include actors of colour appeared to naturally materialise. “When the casting call for Twig was announced, I don’t believe they had a specific physical image in mind,” she explains. “I was the lucky one who got the role and that created a ripple effect – black brothers, sisters, and so on. We need more of this diversity in casting. It thrilled me that they were open to such a casting strategy. They executed it with such finesse. We had numerous dialogues around the characters’ black Irish identities. Being black and Irish is very pertinent in the current times,” she says.
She raises an intriguing perspective. Stories shaped within black communities hold great significance. Equally crucial is the casting of black actors to portray characters that could effortlessly be black, white, brown, or of any other ethnicity.
“We can provide depth, but can also sometimes declare, ‘No, they’re just Irish,’” she concurs.
Following this, she took on a vital role in an institution of Irish theatre – Sive, by John B Keane. Sadly, Keane doesn’t enjoy the same worldwide renown as Brian Friel, but since its first show in 1959, his work has gradually gained immense importance. The narrative of forceful matchmaking and suppressed dreams remains deeply impactful. One wonders how depthful Malone’s familiarity with Keane’s work was.
“I had some knowledge of Sive.” she confesses, “My nana loves the play. She attended the play six times with her entire social circle. It was quite an experience. It felt like being a Rockstar, honestly. I’d exit from the front door to be met by crowds. I knew about Sive, but never envisioned myself in this role since it didn’t seem something I was capable of enacting. Thus, when the audition presented itself, it was incredibly thrilling.”
As one can tell, Malone is a captivating conversationalist. She carries an aura that can rapidly shift from solemn to jestful. We are undoubtedly slated to witness more of her. Even though she can’t disclose upcoming projects, she is eager to revisit one of her many ‘homes’.
“She mentioned, “It’s phenomenal to be regularly working in Dublin and elsewhere in Ireland – it’s all I need.” Since her return, she has been just living, making the most of her time with her family and friends. Simply being there in such moments has been utterly delightful for her.”
Twig is set to grace cinemas beginning Friday, 21st of June.