Playwright, actress, singer and poet, Michaela Coel is a busy woman, I learn, as I manage to grab a few minutes with her on a two-show day: she’s currently performing in Blurred Lines at the National Theatre Shed, while simultaneously preparing for her upcoming solo show, Chewing Gum Dreams, which will play the same venue in March. “I’m a Jack of all trades,” she jokes, “but average at all of them.” Her modesty only adds to her list of enviable qualities and talents. And indeed, the longer we chat, I soon see that her comment couldn’t be further from the truth: Coel really is a powerhouse.

Coel only graduated from Guildhall in 2012 but in her time since has had some formidable achievements. Believing that “unless you’re very, very lucky, there aren’t enough opportunities being blown in your face. You just have to get up and do it yourself – you have to,” she decided to develop a short solo piece she’d written while at Guildhall, which formed the basis of Chewing Gum Dreams. Following persistent phone calls to Jay Miller, Artistic Director of The Yard Theatre, Hackney, he agreed to put the play on and Coel set to work; “I designed the flyers, I designed the set, I built the set, I produced the show and was standing on the street handing out flyers. It was on for four days and every night was sold out.” Now the play has been published, she is on commission with the Bush Theatre and has projects coming up with the Almeida and the Royal Court, on top of which, the show opens at the Shed in March. Talk about being proactive, or as she humbly describes it, “just working hard and trying to put stuff out there”.

The play draws inspiration from Coel’s own school days in the early noughties, (“it’s literally like a tribute to Craig David,” she tells me) and it explores the tipping point between innocence and adulthood – that moment where “suddenly life isn’t full of laughter and it’s not easy anymore – you start to realise there’s a life that I’m going to come to know which includes a bit of hardship, which includes struggle”. While some people realise this young, she goes on, others hit might hit that point at 40 – but when it comes down to it the play is for “anyone who went to school, basically,” with audiences from their early teens to their sixties responding incredibly positively to its original run at The Yard, with Coel hopeful for more of the same when it opens at the Shed.

With Chewing Gum Dreams being set in an all-girls school and exploring relationships, early sexual experiences and violence, Coel agrees that writing from a female perspective does inevitably inform the tone of her work: “I think naturally being a woman I find it quite hard to escape writing something that did have women’s issues. I think it’s impossible.” That said, it was her role in Blurred Lines which really opened her eyes to gender issues; “it has sort of changed my life in that sense,” she tells me, “I don’t think I even realised that I was particularly a girl until I did Blurred Lines.” Working with Director Carrie Cracknell and Playwright Nick Payne in devising Blurred Lines gave Coel the chance not only to examine those issues but also to contribute to the debate, as Payne was keen to include some of Coel’s own poetry in the play.

Nonetheless, Coel is the first to admit that she struggled a bit when rehearsing Blurred Lines, as she began to wonder if she was right to prioritise gender over other issues such as class or race: “I’ll be honest, I started thinking there’s so many other things going on in the world – there are worse things going on in the world– I’d just be like – I’m a bit busy being black at the moment.” In hindsight, however, Coel has come to believe that “if something is wrong, then no matter the scale of the wrongness it should be addressed”. And, though it also touches on ‘women’s issues’, Coel tells me that class is much more central to Chewing Gum Dreams, with the play taking a look at the young people who populated her school and whose voice she feels is not so often heard on the stage or beyond.

As a result, with her future work, Coel is keen to keep telling unheard stories and examining life from different perspectives: “I rarely see an Indian girl or a Bangladeshi girl in a play that isn’t about India or Bamgladesh – you never see that girl in the theatre. I love the idea of just writing Sunita,” she explains. “I feel like I do have a voice that I don’t hear – I think everybody has a voice that they don’t hear, though – and it’s about expressing that voice in whatever way you can.” And doubtless, with so many opportunities coming her way thanks to the her hard work on Chewing Gum Dreams, it seems certain we’ll be hearing more of Coel’s voice soon.

Chewing Gum Dreams is at The Shed at the National Theatre from 17 March to 5 April. For more information and tickets, visit the NT’s website.