Although named after a Shakespeare heroine, Cleopatra Sylvestre – more often known personally and professionally as Cleo – had to wait until very late in a long career to play one of the playwright’s women on a major stage. Last year, she was cast at Stratford-upon-Avon as Audrey in As You Like It, in a touching production using the conceit of older actors recreating a Royal Shakespeare Company show they appeared in decades before.

As the programme noted that this was the RSC debut of Sylvestre, who has died aged 79, it was clear the framing device was fake. And, given the talent and success of an actor who made her West End debut aged 19, the belated bestowal of such a role is a measure of the obstacles that actors of colour long faced in the UK.

The gaps are even more striking because Sylvestre’s career had initially seemed fast-tracked. The daughter of a Yorkshire dancer, she turned the family kitchen table in north London into her first stage, dancing on it as a child, and enrolled at the Italia Conti juvenile theatre school. Aged 16, she bunked off from double biology to record a song with the Rolling Stones. A cover of To Know Him Is to Love Him, it was released in 1964, under the name Cleo. This proved a false start artistically, but Sir Mick Jagger reported being “so sad” at the death of his “old friend”, who stands in pop history as the first woman to record with the Stones.

There were also other striking early breakthroughs. In 1967, aged only 19, she acted alongside Sir Alec Guinness in the London West End in Wise Child, the first play by Simon Gray. Two years later, she became the first black woman to play a lead role at the National Theatre – in Peter Nichols’ comedy, The National Health – and, in the same period, achieved the equivalent of that landmark in a major TV soap opera, with a recurring role in ATV’s Crossroads.

In a 2015 letter to The Guardian, after the death of the TV show’s creator, Hazel Adair, Sylvestre wrote: “It was not long after Enoch Powell’s “rivers of blood” speech. At a time when racial tension was quite high, especially in places such as Birmingham where the show was based, the decision to introduce a main character who was black was unprecedented and a brave decision for a soap that was sometimes ridiculed.”

Through no fault of her performances, much ridicule also attended her other launch platforms. In Wise Child, Guinness played a criminal blackmailed into pretending to be the mother of a young man. Gray, who had a sideline in diaries and articles about his playwriting disasters, reported customers demanding their money back in the interval as Guinness did not seem to be in the play. One couple, who had realised he was playing the heroine, shouted, “Sir Alec, how could you?” as they walked out.

But, though playing a role that the dramatist himself dismissed as “a simple-minded cockney West Indian”, Sylvestre impressed enough to receive an acting award nomination and a dressing room visit from Sir Laurence Olivier, artistic director of the National Theatre, who gushed, she would recall, in the perfect “Larry” imitation that all actors of her generation had: “Oh, Miss Sylvestre, I’d just like to congratulate you on the most wonderful performance.”

Two years later, she was at the National in Nichols’ comedy about the NHS. In both The National Health and Crossroads, Sylvestre played nurses. This would now be seen as stereotyping – although it reflected one of the great contributions of immigration to the UK – but the point was that the roles were of a size being written at the time only for white actors.

In interviews, Sylvestre continued to be grateful to Olivier for the break. It is not clear, though, if she was aware of a shocking complication in his patronage. Published in 2013, The National Theatre Story, the organisation’s official history, endorsed a story told in Nichols’ Diaries 1969-1977 (2000). Using language that would have appalled many then and is completely abhorrent now, Olivier is reported to have said, after the first night of The National Health: “Much as I admire the negro races, I’m not great admirer of their histrionic abilities … D’you think the regular girls in the company should black up?”

Such attitudes may explain why, in theatre, Sylvestre never subsequently developed quite the momentum that her early successes suggested, although later National Theatre administrations treated her much better. In 2021, she sparkled in a stage version of Dylan Thomas’s Under Milk Wood and former NT boss Sir Nicholas Hytner cast her, in 2018, in Alan Bennett’s hospital-set play, Allelujah, at his Bridge Theatre, where she had graduated from nurse to patient.

On TV, Sylvestre was in regular demand for character parts from Z Cars in 1967 via Grange Hill in 1979 to Platform 7 and All Creatures Great and Small as recently as last year.

In an interview late in her career, she was asked for advice for the next generations of her profession and replied: “To young actors, I would say acting must be a passion; there will be rejection, but that ‘dream job’ is waiting around the corner.”

It was a characteristically generous response from someone who – due to the slowness of cultural change in British showbusiness – faced much rejection and was denied many of the dream jobs that her pioneering achievements make possible for those who follow her.

The Sims 4 base game reviewed in 2024 on PC, also available on PlayStation, Xbox, and Mac.

The Sims 4 is starting to feel its age in 2024, but what keeps it so compelling is that magical feeling that occurs when all its parts work together to create the rich tapestry of your Sims’ lives. The complex character creator and approachable building mode are both impressive – and as personality quirks rub up against the houses you’ve tenderly built, you’re rewarded with hilarious and profound emotional reactions from the beloved families you’re guiding. There’s a deeper focus on replicating the complexities of human life than any other game in this genre. Yet despite maintaining the bar for life simulators at large, the last decade has also left the base game with an outdated fashion sense and locked what now feel like core features such as pets behind paid DLC – a problem that can only be escaped by indulging in fan-made mods or costly expansions. Even so, after hundreds of hours of playtime and nearly a decade of history, I’m still always excited to build a new family dynamic and start the chaotic cycle of life all over again.

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Strictly Come Dancing’s Chris McCausland has revealed how the BBC production team have been supporting him as the show’s first blind contestant.

Speaking to The Independent and other media ahead of the show’s launch, the comedian admitted that he and his dance partner are “winging it” since McCausland has never seen the show before, and his professional partner has never taught someone who is blind.

“We’re just gonna have to figure it out as we go along,” he said. “The production team are just being really flexible. My dance partner is figuring out how to teach me. And we are winging it. That’s the best way I think.”

Speaking about his rehearsal experience so far, McCausland explained that adapting to wearing new dancing shoes was the first hurdle.

“The part of the problem for me is wearing shoes that I’m not used to walking in,” he said. “I can’t feel the floor through the shoes properly.”

“There’s a lot of things that are going to make this more complicated,” he laughed. “If it wasn’t on live telly that would be a good thing as well!”

McCausland lost his sight aged 22 due to a hereditary condition called retinitis pigmentosa.

As well as being a comedian on panel shows from Have I Got News for You to Would I Lie to You?, McCausland hosts ITV Saturday morning series The Chris McCausland Show, and is known by younger viewers as Rudi, the market trader, in CBeebies show Me Too!

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Discussing his motivations behind joining the show, he said that working in a team is a welcome change from his stand-up work, which can be quite “solitary”.

“The best things I’ve done are the things I’ve really had no experience in and had to learn,” he said. “This is so far out of my comfort zone that it’s gonna be an experience.

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He admitted he was initially reticent about signing up, mainly because he thought it was a silly idea.

“I wasn’t keen on the idea at first,” he said. “Immediately I was like, ‘No, I can’t do that… that’s ridiculous. That’s a stupid question!’ I’m quite resistant to things and then it takes me a while to acclimatise to it and really think it through. But then I just need to process these things.”

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In the Channel 4 series Scared of the Dark, he spoke openly about his experience of going blind, explaining that he can “still see light and space” and has “an awareness of the space around me, not in terms of objects and things, but in terms of the room and whether there might be something in front of me”.

Speaking about representing disability on screen, the comedian said that he thinks that it can be more impactful when it is more subtle.

“My attitude has always been to represent by not banging you over the head. I think the best way to represent a disability is to make people forget about it whenever possible. It’s always part of you.”

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“But if you can do a show where, say, 80 per cent of it isn’t about being blind, that makes it more impactful and funnier when you do talk about it. I believe in representation within the mainstream.”

McCausland will dance alongside other celebrities including Arsenal’s Paul Merson and Love Island’s Tasha Ghouri on this year’s show, which kicks off on Saturday 14 September. Find the full lineup here.