Beginning each day for some people resembles the arguable 'pleasure' of jumping into the pool. 'Once you're in, it's great' - people tell you, smiling in the water...

But when you stand there, with your toes wet, the thought enters your head: 'if you do that, you will most certainly die'.

Millennials experience that on a generational scale. Economic crisis hit when they were standing on the edge of adulthood, terrified as one's supposed to be ahead of the very first head dive.

Many of them had loving parents who saved their children from the storm - and from becoming properly adult at the same time - by letting them back home (sometimes easing their own fear of an emptying nest).

Ashanti Wheeler-Artwell's 'British Vogue' at the Oxford Playhouse, for Offbeat Festival, perfectly encapsulates on stage the inside of one of those 'I'm-no one-I-still-live-with-my-parents' bedrooms, in which Millennials squat, dreaming about becoming adults, comparing themselves with those who somehow did something with their lives, avoiding trashy jobs, blaming their parents with responsibility, watching a lot of Netflix and suffering from anxiety.

The genius of Ms Wheeler-Artwell's bittersweet show is that she's doubled this already well-explored subject with a layer of a very personal issue - that of Ashanti being of mixed racial heritage.

"Where are you really from?" - she's being asked, and as her British identity is being challenged because of the colour of her skin, she has to answer question after question, until her admittance of having a Jamaican grandfather satisfies the purpose of this racially motivated interrogation.

Distanced, yet not detached from her life experiences, the author and performer of "British Vogue" has effectively created two, interconnected portraits: this of the Millennials' generation and that of the machinery inside contemporary racism.