I got into this thing called the National Youth Theatre, and to me, that was all about the status quo. It seemed to me like 'Downton Abbey' - all the working-class and black people were playing servants, or the gravedigger in 'Hamlet,' and the boys from Eton and posh private schools got Hamlet, all the big roles.
It's all about the sensuality of movement, every movement you make. That's why I love doing action movies. It's all about movement, dance - even if you're hitting someone in the face. You've got to sell it all with great passion. There's a narrative to the body. It's exactly the same as dance.
I did everything, I used to be a drag queen, I used to be a stripper.
Part of the creative journey for me was not to come up the conventional route. I didn't go through drama school. I chose not to. I came from a very working-class area, a child of Nigerian immigrants.
I always wanted to experience what performance would be like without the fourth wall, so I formed a company in Australia, and we did avant-garde theater, playing with gender norms, conversations about race - we just had a box of issues that we wanted to subvert with our stories, with dance.
In Australia, there just weren't strong roles for actors of colour. I was often being asked to turn up for commercials with a ghetto blaster on my shoulder. I thought, 'Are we in the '60s?'
I came from a very poor background. I came from children's homes; I came from a violent family, and against all the odds, I succeeded.
