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Written by Amy Saleh. First published 5 September 2025.

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Written by Amy Saleh. First published 5 September 2025.

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In Princess & the Hustler, set during the 1963 Bristol Bus Boycott, 10-year-old Phyllis ‘Princess’ James goes on her own journey of resistance and self-love. Amy Saleh offers an analysis of the play’s front cover as an entry point to its themes, characters and events.

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Chinonyerem Odimba’s play Princess & the Hustler (2019) was originally a co-production between Eclipse Theatre Company, Bristol Old Vic and Hull Truck Theatre, directed by Dawn Walton. It premiered at Bristol Old Vic in 2019 and toured seven cities across the UK. The playscript was published the same year. In October 2024, the play ran again at the Tower Theatre in Stoke Newington, directed by Sara Amanda and produced by Landé Belo.

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Held by ArenaPAL, arp1648505 © The Other Richard / ArenaPAL. Except as otherwise permitted by your national copyright laws this material may not be copied or distributed further.

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Photograph of Kudzai Sitima as Princess in Princess & the Hustler, 2019 production at Bristol Old Vic 

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Photograph of Kudzai Sitima as Princess in Princess & the Hustler, 2019 production at Bristol Old Vic 

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This cover illustration was designed by Cressida Djambov. © Nick Hern Books, 2019.

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Front cover to Princess & the Hustler by Chinonyerem Odimba, 2019

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Front cover to Princess & the Hustler by Chinonyerem Odimba, 2019

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Blacki beauty

On the play’s front cover (Nick Hern Books, 2019), Princess is wearing a makeshift ‘Miss Weston-super-Mare’ sash and holding a crown over her head. This depicts Princess’ fantasy cupboard world which is a motif in the play where she imagines herself winning the ‘Beauties of the West’ contest. In the opening scene, her cupboard comes to life and Princess accepts her award, saying:

My name is Phyllis Princess James. I will wear this crown every day. I will never take it off even when I am asleep. (Act 1, Scene 1)

Here, we are introduced to a confident and spirited young girl who believes in her dream that she can win the beauty competition. However, the crown on the front cover appears to be fractured. While this could be seen as evidence that the crown has been stitched together at home, it may also foreshadow the damaging effects of anti-Black racismii that Princess experiences at school. After being rejected by her school peers, we see how Princess has changed in her next cupboard world appearance:

My name is Phyllis Princess James. I want to wear this crown… I want to be the prettiest girl in the whole of Weston-super-Mare and Bristol… but everyone in school says I can’t be… (Act 2, Scene 2)

The use of modal verbs across both scenes is important: Princess goes from saying ‘I will wear this crown’ to ‘I want to wear this crown’, which illustrates the doubt that has infiltrated her mind. Likewise, the idea that she ‘can’t’ win a beauty competition is voiced by her school peers but is an idea endorsed by society, too. Princess is growing up in a world where White or light skin and silky hair is portrayed and seen by many to be the most desirable. This is symbolised by the White dolls wearing beauty pageant sashes on the floor, as well as the images of past pageant winners who are all White women.

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This newspaper article reports on the Weston-Super-Mare 'Modern Venus' beauty contest of 1965. Held by the British Library. Shelfmark: NEWS93 © Reach PLC. Except as otherwise permitted by your national copyright laws this material may not be copied or distributed further.

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'Modern Venus is Former Miss England', Bristol Evening Post, 30 July 1965

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'Modern Venus is Former Miss England', Bristol Evening Post, 30 July 1965

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Furthermore, through Lorna’s character, Odimba introduces the existence of colourism. This is shown through the attention and acceptance that Lorna receives from multiple characters, particularly in relation to her hair. All this leads Princess to question the value of her own beauty and cut off her hair.

Hair discrimination in schools (and the workplace) is an enduring issue. Michelle De Leon and Denese Chikwendu, creators and directors of World Afro Day, found that 1 in 6 children in the UK have had negative experiences with their afro-textured hair and identity, and that the school environment was a major reason why these children would prefer to have straight hairiii.

Odimba’s decision to centre a dark-skinned Black girl with an afro is an act of resistance against Western beauty ideals which are rooted in anti-Blackness and misogynoiriv. The play’s ending where 'the most beautiful Black women of all sizes and nations appear' and 'assemble around Princess' is powerful in the way it pays homage to Black beauty, while marking the end of a chapter in Princess’ journey. This display also alludes to the work of Trinidadian journalist and activist Claudia Jones (1915–1964), who created the Carnival Queen competition as part of London’s first Caribbean Carnivalv.

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This image shows the programme for the event, the Carnival Queen finalists and judges, as well as the Carnival patrons for that year. Held by the British Library. Shelfmark: Add MS 89377/12 (Andrew Salkey Archive). Claudia Jones: We have been unable to locate the copyright holder for Claudia Jones and the West Indian Gazette. Please contact copyright@bl.uk with any information you have regarding this item.

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Claudia Jones' Caribbean Carnival Souvenir programme, 1960 - Caribbean Carnival Queen Contest

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Claudia Jones' Caribbean Carnival Souvenir programme, 1960 - Caribbean Carnival Queen Contest

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Familial ties and photographs

The front cover also depicts the play’s setting with rich detail. Princess appears to be in the family living room and the photographs are more than decorative touches. Those on the wall are most likely of the Caribbean, with one photograph displaying palm trees on a sandy beach, and the other a hibiscus flower which grows in tropical regions and is often used, in the Caribbean and the diaspora, to make sorrel drink. In his book Black Everyday Lives, Material Culture and Narrative: Tings in de House (2023), Shawn-Naphtali Sobers writes about the significance of photo walls in Caribbean households; they tell unique stories and connect members of the diasporavi to their cultural heritage.

In the middle of the mantlepiece, in pride of place, is a photo which we can infer is of the family. Mavis embraces Junior and Princess, mirroring how her life revolves around affirming and creating hopeful futures for her children in the UK. Her mothering practices reflect those of many Black Caribbean mothers who play central roles in nurturing their children while giving them the tools to navigate a society in which they will:vii

And every day, mawning and night mi fall on my knees and pray that dis country Hingland truly see de possibilities of our children… (Mavis, Act 3, Scene 4)

Mavis’ presence and influence can be seen through the appearance of the adult-sized red shoes and the dress that Princess wears, both of which may be hers. Alternatively, these items could belong to their neighbour, Margot, who comforts Princess and helps her dress up when she has run away after cutting her hair. Although there are some tensions around Margot’s character, she is accepted as part of the family, having played an important role in Mavis’ and her children’s lives:

Thank you for bringing Princess back home safe to me. And you’re always welcome here. Any time. Girls say bye to your Auntie Margot. (Mavis, Act 3, Scene 4)

Another object we see on the front cover is a camera, which reinforces the importance of photographs. We find out early in the play that Wendell Junior’s dream is to become a professional photographer:

Leon and some other guys wanted to take photographs by the docks. And you know I’m trying to learn everything I can… I’ll be an apprentice one day in one of them photography studios (Leon, Act 1, Scene 1)

This ambition is linked to Wendell Junior’s relationship with his best friend Leon and Leon’s father; respectively, they have played brother and father roles in his life. Wendell Junior takes inspiration from Leon’s photography skills, and Leon’s father has supported Wendell Junior’s dream by lending him a camera and offering him a paper round job.

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This article is about how to get into a photography career. It includes educational routes and what you could expect to earn, with examples of professional work that existed at the time. Held by the British Library. Shelfmark: P.P.5109.bq. © Edward Scobie: © Flamingo magazine, July 1963, edited by Edward Scobie. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work.

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Flamingo magazine, July 1963 - Photographic Feature (p. 28)

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Flamingo magazine, July 1963 - Photographic Feature (p. 28)

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The photos that Wendell Junior takes and hangs towards the end of the play are also symbolic. First, he labels the photo of Princess as ‘My Sister, the Beauty Queen’, and includes a photo of Lorna as his sister. Both acts reveal the importance of love and recognition from Black brothers. Second, when the family find out that the Bus Boycott has been a success, Wendell Junior assembles them for a photo and uses his talent to document a momentous occasion in history. While the James family have been somewhat disjointed at different points in the play, this photo brings them together and reinforces Wendell Senior’s place within it.

Community resistance

The Bristol Bus Boycott of 1963 is alluded to on the front cover through the toy bus and the protest sign written in vivid red paint. The colour could symbolise the passion and anger of communities subjected to daily racisms, at a time where there were no laws in place to combat racial discrimination. It could also represent the blood shed from Black communities across generations who made Bristol the city it is today, leading us to reflect on the legacies of the transatlantic trade in enslaved people.

Princess’ position atop the toy bus could signify the legacy of resistance she is born into, while also being a reminder of her innocence. As the events of the Bus Boycott unfold and members of her family are affected, this is an important backdrop for Princess’ story where she is exploring her own identity as a young Black girl.

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This article, written by Flamingo magazine’s editor-in-chief Edward Scobie, is about the legacy of Bristol’s involvement in the transatlantic slave trade. He writes about negative responses to the Black presence in Bristol and the racial discrimination Black communities faced and fought, despite being brought and invited to the UK. Held by the British Library. Shelfmark: P.P.5109.bq. © Edward Scobie: © Flamingo magazine, July 1963, edited by Edward Scobie. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work.

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Flamingo magazine, July 1963 - 'Bristol's Wealth Came from Slaves' by Edward Scobie (p. 26)

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Flamingo magazine, July 1963 - 'Bristol's Wealth Came from Slaves' by Edward Scobie (p. 26)

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This article, written by Flamingo magazine’s editor-in-chief Edward Scobie, is about the legacy of Bristol’s involvement in the transatlantic slave trade. He writes about negative responses to the Black presence in Bristol and the racial discrimination Black communities faced and fought, despite being brought and invited to the UK. Held by the British Library. Shelfmark: P.P.5109.bq. © Edward Scobie: © Flamingo magazine, July 1963, edited by Edward Scobie. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work.

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Flamingo magazine, July 1963 - 'Bristol's Wealth Came from Slaves' by Edward Scobie (p. 27)

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Flamingo magazine, July 1963 - 'Bristol's Wealth Came from Slaves' by Edward Scobie (p. 27)

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Princess’ family live in St Agnes, close to St Pauls, an area where many Caribbean migrants settled in the 1950s, alongside South Asian and Irish migrants. These communities have engaged in struggles against institutional racism for decades. The efforts of some activists, known as the Seven Saints of St Pauls, have been remembered through murals designed by Bristol-based artist Michele Curtisviii. In the opening pages of the play text, Odimba honours a range of community activists, recognising the collective efforts of so many.

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In this audio clip from 2007, Princess Campbell tells a group of school children in Bristol about her involvement in the 1963 Bristol Bus Boycott. Held by Bristol Archives, 43605/3/3/1. © Dennis Perry. Except as otherwise permitted by your national copyright laws this material may not be copied or distributed further.

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Princess Campbell discussing her role in the Bristol Bus Boycott

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Princess Campbell discussing her role in the Bristol Bus Boycott

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Beyond the Bus Boycott of 1963, which led to the formation of the Race Relations Act 1965 (the first piece of UK legislation to address racial discrimination), we can also look to other examples of local community resistance. These include St Pauls Carnival (first known as St Pauls Festival, established in 1968), a joyful celebration of African Caribbean culture, and the St Pauls Uprising of 1980 which followed frequent raids on a Jamaican-owned café. To read and hear more about these events, visit the Black Bristol website ix, an interactive digital exhibition created by Project Zazix and the Black community of Bristol.

Odimba’s play brilliantly captures the experiences of Black communities in the 1960s, but its relevance is ongoing. This sentiment is illustrated in the stage directions when the family celebrate the success of the Bristol Bus Boycott:

PRINCESS laughs and exits – towards the sunshine outside, head held high, knowing that just for this one day, they won –

Writing in the 21st century, Odimba knows that this triumph is momentary and will go down in history as a big stride in the journey towards racial justice. More recently, Black Lives Matter Movements, the fight for climate justice, and the far-right violence and racist and Islamophobic race riots in the UK (summer 2024), are just a few examples that show we have a long way to go.

Despite this, the play’s ending is infused with a real sense of joy and unity, which reflects how the spirit of resistance in Black communities, along with their allies, lives on.

Lit.Legacies Princess & the Hustler scheme of work

Teaching Princess & the Hustler for GCSE English Literature or interested to find out more? Explore Lit.Legacies’ free scheme of work including a teacher pack and accompanying resource banks.

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Explore more Discovering Literature articles

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Explore more Discovering Literature articles