It was accompanied by a Bibliographyincluding over 60 names, which I am still proud to have compiled at that time. I am Professor of Black Theatre and Performance. Robert O’Hara. Connor was one of the first black women to campaign for better pay for black actors, Equity membership and recognition for black actors, dancers, writers and musicians when existing agencies refused to acknowledge their work.[5]. The play examines the rage, alienation and fears of five south London boys as they prepare to leave school and enter into adulthood. The text in this article is available under the Creative Commons License. Choose Yes please to open the survey in a new browser window or tab, and then complete it when you are ready. The Lion and the Jewel, directed by Desmond O’Donovan and designed by Jocelyn Herbert, was presented by the Ijinle Players, a group of African actors. Nigerian-born Soyinka is known for his satiric depiction of the country’s political and sociocultural traditions and institutions, but The Invention, a science fiction satire, is an attack on racism, and more specifically on South Africa’s then policy of apartheid. There he taught and authored over ten plays, before his second play at the Royal Court was produced in 1966. We take David Harewood and Gary Wilmot in conversation, Oscar James and Mustapha Matura in conversation. 224223. At the end of 1956, Kenneth Tynan, drama critic of The Observer and his editor, David Astor, announced a new playwriting competition. [2] Charles Duff, The Lost Summer: The Heyday of the West End Theatre (London: Nick Hern Books, 1995). [1] John E Romer et al, Racism, Xenophobia and Distribution: Multi-Issue Politics in Advanced (Massachusetts: Harvard University Press, 2007). Natasha Bonnelame undertook her PhD at the Centre for Caribbean and Diaspora Studies, Goldsmiths, University of London where she has taught on Black British Literature and Caribbean Women’s Writing. This project has been made possible by support from Sustained Theatre and Arts Council England. Over the next decade, a growing community of black theatre practitioners emerged in Britain. Layne; Marcia. Sidi, a young woman considered the village ‘jewel’, is raped by Baroka, the old, patriarchal ‘lion’. Lynette Goddard is a Senior Lecturer in the Department of Drama and Theatre, Royal Holloway, University of London, UK. Mustapha Matura, born in Trinidad, traveled to the UK in 1956 at the age of 21. Black Pieces comprised four short ‘pieces’: Dialogue, Indian, My Enemy and Party. Marcia Layne is an award winning playwright. Directed by Ann Jellicoe and designed by Jocelyn Herbert, the production featured an all-white cast, including iconic 1960s actor David Hemmings in the lead role. Why not take a few moments to tell us what you think of our website? With a keen interest in American, French and Italian cinema, Matura was also drawn to the theatre, and in particular what he has termed ‘the radical theatre of the Royal Court’,where he watched The Death of Bessie Smith (1961–62) by Edward Albee and Luther (1961) by John Osborne. As Soho Rep. launches debbie tucker green’s play generations, we hope to pique your interest in the work of Black-British playwrights.generations will be Soho Rep.’s second production of green’s work, following 2010’s born bad.There is a rich vein of writing across the UK by writers who identify as black, Asian (Indian/Pakistani/other south Asian countries), and Caribbean. The Negro Theatre Workshop would also play a significant role in the development of black British and Caribbean film, co-producing and distributing titles such as Edric Connor’s Carnival Fantastique (1960), Trevor Rhone’s Smile Orange and Horace Ove’s Pressure (1976). Three playwrights in particular – Errol John, Barry Reckord and Wole Soyinka – standout for their achievements at the Royal Court, and for the position they would come to occupy in the canon of black British theatre. The Black Plays Archive supported by Sustained Theatre and Arts Council England, is an online catalogue for the first professional production of every African, Caribbean and Black British play produced in Britain. Contextual resources and content will gradually be added to the site over the coming months. Context. He … Reckord’s second play at the Court, You in Your Small Corner (1961; directed by John Bird), explored the Caribbean migrant experience from the perspective of the lives of a group of wealthy West Indians living in Brixton. Postwar migration to Britain from Africa and the Caribbean led to the development of black British theatre in the 1950s. The opening night of Play Mas at the Royal Court. They paved the way for the arrival of a number of black writers and theatre companies, but they were also instrumental in creating the beginnings of an artistic language for the newly emerging black British community. Soyinka’s first one-act play, The Invention, had its premiere as part of the Sunday night series in November 1959. Featuring a company of 25 actors, it aired on Palm Sunday in April 1966. A blues version of the St Luke Passion (a choral and orchestral work by the Polish composer Krzysztof Penderecki), The Dark Disciples was also produced for BBC television. Born in Jamaica, Reckord won the prestigious ISSA scholarship in 1950, which enabled him to study English at Emmanuel College, Cambridge. The management at the Apollo Theatre in the West End, where the play was to be staged, did not meet with the cast at their first rehearsal, and in the end the play was deemed unsuitable for a West End audience. With a specialism in heritage, archives and digital media she has worked on projects with Tate, and the Athena European Network. More info [4] Lynette Goddard, Staging Black Feminisms: Identity Politics, Performance (London: Palgrave McMillan, 2007). First prize was awarded to Trinidadian writer and actor Errol John. Her play Off Camera which won the Alfred Fagon Award was … The lead roles of Ephraim, Sophia and Charlie were awarded to African American actors as it was assumed that black British actors lacked the necessary experience and stature. In 1948 the Nationality Act, which granted all Commonwealth subjects citizenship rights in the UK, further changed the dynamics of Britain’s population. In addition to the searchable database of plays produced in the U.K we are developing a number of contextual resources. Winsome is featured in the National Theatre Black Plays Archive. The Royal National Theatre is registered charity no. Usage terms © Donald Cooper / Photostage www.photostage.co.uk, During the late 1950s and 1960s black female playwrights were virtually invisible on the British stage. Michael Keating as Brook (centre) and James O'Brien as Cragge. Migrants from the African diaspora often found that they were caught between trying to establish their individual identity while also having to represent an entire community. He is a West Indian Britain playwright with a focus on a West Indian background. [1] Large-scale migration from Africa, the Caribbean and the Indian subcontinent saw the development of new communities across the UK which contributed to declining sectors such as mining, textiles and transport. The late 1950s is a seminal moment in the development of black British theatre in the UK, with the Royal Court in Sloane Square playing a significant role in the establishment of this wave of new writing. By 1965 the Court was under the directorship of William Gaskill, who greatly admired Soyinka and would play an important role in this early stage of his career. The Awards are now open to Black British playwrights of Caribbean or African descent resident in the UK. For more information about the project see the ‘About’ section above. See also the more extensive list at British playwrights since 1950. These include audio recordings of play extracts recorded at the National Theatre, and essays and video interviews with leading practitioners and academics in the field. Soyinka returned to Nigeria in 1960 as the country moved towards independence from Britain. The Reckord brothers, however, felt that the Jamaican theatre scene of the time did not allow for the expansion of their work and they returned to England in 1958. [2] Born in 1924 in the capital Port of Spain, John’s three act play is set during the late 1940s in a tenement yard in the East Dry River District, an area known for its poverty and violence. Matura was influenced by the conversations taking place among his friends and peers concerning the Black Power Movement in America and an emerging black consciousness in the UK. Please consider the environment before printing, All text is © British Library and is available under Creative Commons Attribution Licence except where otherwise stated. Launched in 2015 through the joint vision of Prof. Joan Anim-Addo and Dr Deirdre Osborne, this ground-breaking MA is timely and necessary. Between 1957 and 1975 the Royal Court staged the ‘Sunday night productions without decor’, a series of rehearsed plays with minimal scenery and costumes which were held over one or two nights. [6] During a visit to Rome he worked on a production of Langston Hughes’s Shakespeare in Harlem, and became inspired and determined to write plays that examined the experiences of Caribbean communities both in the Caribbean and the UK. Black Women Playwrights in Britain, 1993. This book examines the socio-political and theatrical conditions that heralded the shift from the margins to the mainstream for black British Writers, through analysis of the social issues portrayed in plays by Kwame Kwei-Armah, debbie tucker green, Roy … Welcome to the National Theatre’s Black Plays Archive website, an online catalogue of the first professional production of every African, Caribbean, and Black British play produced in the U.K. Edited extracts from Leonie Orton’s memoir, An introduction to Joan Littlewood's theatre practice, Bertolt Brecht and epic theatre: V is for, The 1950s: English literature’s angry decade, Homosexuality, censorship and British drama during the 1950s and 1960s, Antonin Artaud and the Theatre of Cruelty, An introduction to Katie Mitchell's theatre, Close readings of John Agard's ‘Checking Out Me History’, ‘Flag’ and ‘Half Caste’, 'Knock, knock, it’s Enoch': Hanif Kureishi remembers the effect of Enoch Powell, Nightmares, mirrors and possession in Daphne du Maurier's, Angela Carter: fairy tales, cross-dressing and the mercurial slipperiness of identity, Bad-good girls, beasts, rogues and other creatures: Angela Carter and the influence of fairy tales, Angela Carter’s wolf tales (‘The Werewolf’, ‘The Company of Wolves’ and ‘Wolf-Alice’), An introduction to Katherine Mansfield's short stories, ‘Lady Lazarus’ by Sylvia Plath: a close reading, Feminist literature: puncturing the spectacle, Photograph of Donald Howarth's 1974 production of, Wole Soyinka at the British Library, 8 October 2015, Selections from Wole Soyinka’s annotated typescript of ‘Idanre’ (1965), Galleries, Reading Rooms, shop and catering opening times vary. The winning entries would receive prize money and the chance for their plays to be staged in a commercial theatre. [6] Mustapha Matura interviewed by Michael Pearce, Black Plays Archive, National Theatre Studio (2013), [accessed July 2017]. As Archive Associate at the National Theatre, she has curated 5 exhibitions in the National Theatre’s Lyttelton Lounge and was the Project Manager for the National Theatre's Black Plays Archive (2011 – 14) establishing the digital platform which documents the first production of every African, Caribbean and Black British play produced in the UK. She currently teaches creative writing at Kingston University. Tamba Allen and Cleo Laine in the 1958 production of Flesh to a Tiger. Explore the contributions of African, Caribbean and black British playwrights to British theatre with the National Theatre’s Black Plays Archive, an online catalogue for the first professional production of every African, Caribbean and black British play produced in the UK. Trinidadian-born Pearl Connor-Mogotsi studied law at King’s College London, and in 1956 established the Edric Connor Agency with her husband. Tynan and Astor had expected at most five hundred plays, but the paper received nearly two thousand entries. The Tiger Who Came to Tea by Judith Kerr: sketches and original artwork, Sean's Red Bike by Petronella Breinburg, illustrated by Errol Lloyd, Unfinished Business: The Fight for Women's Rights, The fight for women’s rights is unfinished business, Get 3 for 2 on all British Library Fiction, Why you need to protect your intellectual property, ‘Your Godot was our Godot’: Beckett’s global journeys, Shelagh Delaney: The Start of the Possible. List of black British writers; Errol Lloyd; Lesley Lokko; Adam Lowe; John Lyons (poet) During the late 1950s and 1960s black female playwrights were virtually invisible on the British stage. Initiated by playwright Kwame Kwei-Armah, the archive features audio play extracts, video interviews with playwrights and theatre practitioners, and essays. We encourage visitors to use the Feedback Tab to help us improve our records and to provide us with their views on the website and resources. The problems that arose during the production of John’s play – namely the difficulties faced by a black playwright and black British actors to gain respect and recognition for their work – would continue long into the rest of the 20th century. Sucker Punch, by Roy Williams, is a play about boxing and the black experience in 1980s Britain. [3] Shelley Cole-Nimblett, The Significance of ‘Moon on a Rainbow Shawl’ in Caribbean Literature (Storytelling Forum, 2011). Lynette Goddard is a Senior Lecturer in the Department of Drama and Theatre, Royal Holloway, University of London, UK. Directed by Tony Richardson and designed by Loudon Sainthill, Reckord’s first play featured a stellar cast of black British actors including jazz singer Dame Cleo Laine, Nadia Cattouse, Johnny Sekka and Lloyd Reckord. Soon, these communities would demand a space for their stories and experiences on the British stage and beyond. These examples of early black theatre practitioners working in post-war Britain have a twofold importance. Other major black playwrights worth exploring: Ed Bullins, Pearl Cleage, OyamO, Douglas Turner Ward, Charles Fuller, Anna Deavere Smith, Ron Milner, Keith Glover, Kia Corthron and Vy Higginson. As the government attempted to reconstruct the British economy after the end of World War Two, the late 1940s ushered in a new wave of migration to the UK. One of Soyinka’s most celebrated works, it is a comedy set in a Nigerian village – but beneath the song and dance Soyinka reveals a dark centre. The play marked the beginning of a long and successful career that would see Matura write for theatre and television, and co-found the Black Theatre Co-operative with director Charlie Hanson in an attempt to address the lack of opportunities for black theatre practitioners. [4] While their works were not being published or produced, a number of black women established crucial networks during the post-war years. In 1963 the Connors established the Negro Theatre Workshop and produced Wole Soyinka’s The Road (1965) and The Dark Disciples (1966), which represented Britain at the first World Festival of Negro Arts in Dakar, Senegal. Playwright Kwame Kwei-Armah introduces the Black Plays Archive, discusses its goals and how you can explore its resources. This essay on Black Women Playwrights in Britain was researched from 1989-1992 and published in 1993. Scripts by London Playwrights. This book examines the socio-political and theatrical conditions that heralded the shift from the margins to the mainstream for black British Writers, through analysis of the social issues portrayed in plays by Kwame Kwei-Armah, debbie tucker green, Roy Williams, and Bola Agbaje. George Devine established these productions to give a platform to new, emerging playwrights. Usage terms © Donald Cooper / Photostage
Appeals for workers were aimed primarily at white Europeans and those who arrived in Britain were mostly soldiers, displaced persons and former prisoners of war from Eastern Europe and Germany. www.photostage.co.uk. Robert O’Harais another Boston-raised (if Ohio-born) playwright. Kwame Kwei-Armah won the Peggy Ramsay award for his first play, Bitter Herb (1998), which was subsequently put on by The Bristol Old Vic,... Lamb; Robert. On his return to England, surrounded by creatives such as film-maker Horace Ove and actor Stefan Kalipha, Matura began to write. Natasha Bonnelame introduces several of the most important black playwrights of the period, including Errol John and Wole Soyinka and describes the contexts in which their plays were staged. Playwright Kwame Kwei-Armah introduces the Black Plays Archive, discusses its goals and how you can explore its resources. Skyvers’ protagonist, Cragge, brings to light the hypocrisy of an educational system that declares its desire to create a meritocratic society, while reinforcing hierarchical values which favour privilege for the few, at the expense of the masses. [4] While their works were not being published or produced, a number of black women established crucial networks during the post-war years. For more information about the project see the ‘About’ section above. After obtaining his degree he returned to Jamaica in 1953 to pursue a career in theatre, working alongside his brother, the actor and director Lloyd Reckord, who had studied at Bristol’s Old Vic Theatre. The Royal Court was suggested as an alternative venue, and on 5 December 1958 Moon on a Rainbow Shawl opened at the Court and ran for six weeks. The play was adapted in 1962 for ITV’s Play of the Week series, and its subject matter – namely the sexual relationship between an educated young black man and an uneducated young white woman – caused a significant amount of controversy when it was aired. Your views could help shape our site for the future. Black British Literature Re-Placing Great Britain. He left school at the age of 18 to be able to work to help support his mother. Barry Reckord’s first play Della, now entitled Flesh to a Tiger, was produced by the Royal Court in 1958 while he was still a student. https://kentakepage.com/alfred-fagon-jamaican-born-black-british-playwright He was the youngest of four siblings in a single-parent home, with his mother working as a nurse after his father moved to the US. Interviews and essays on Black British Theatre and a selection of play extracts, recorded especially for the Archive. My research and teaching is focused in the area of the politics of contemporary Black British theatre and performance, including work on new writing by Black playwrights and contemporary Black productions of canonical plays. As well as several journal articles and book chapters on contemporary Reckord had taught in Jamaica, Canada and London, and drew on his experiences and observations for his third play at the Court, Skyvers (1963), set in a secondary modern school in south London. Featuring four black characters and three white characters, the play centers around Leon Davidson, a black British boxing champion, and Troy Augustus, a black American powerhouse. He journeyed to London and landed at the Royal Court where he became a script-reader and member of the Writer’s Group, and started to write plays and act in sketches. In 1957 Wole Soyinka, who would later become the first African to win the Nobel Prize for Literature, was attending Leeds University, studying for his MA. Black Pieces reflected these political and often contradictory positions. Louisa Eyo portaying Favourite and Toyin Oshinaike as Baroka. It is this tension, between contemporary and historical conflict and occupation, which informs Moon on a Rainbow Shawl. Written in 1963 at the point when the Nigerian Republic was establishing itself, The Lion and the Jewel reveals the tensions between tradition and modernity, between Africa and Europe, and warns against the corrosive and corruptive nature of power. Postwar migration to Britain from Africa and the Caribbean led to the development of black British theatre in the 1950s. From 2010-2012 playwright Winsome Pinnock was the chair of the judges. William Wells Brown ’s The Escape; or, A Leap for Freedom (1858), was the first Black play published, but the first real success of an African American dramatist was In 1970, Ed Berman (founder of the Ambiance Lunch-Hour Theatre Club, which supported writing by black, women and gay writers) and director Roland Rees included Matura’s Black Pieces in their Black and White Power Plays Season at the Institute of Contemporary Arts (ICA). The production of John’s play was fraught with problems. When Trevor Griffiths and Margaret Llewellyn-Jones suggested I write it (their prior response to my suggestion that they needed to include an essay on black women playwrights in their proposed book on British … Sucker Punch by Roy Williams. [5] Elaine Aston & Janelle Reinelt (eds), The Cambridge Companion to Modern British Women Play-wrights (Cambridge: Cambridge University Press, 2000). The first decade of the twenty-first century has been described as witnessing a ‘cultural renaissance’ (Kwei-Armah, cited in Davis, 2006, 240) of black British playwriting, exemplified by an increased visibility on London’s mainstream stages. [3] During World War Two American army and naval personnel established bases on the island, thereby disrupting British colonial rule. https://metro.co.uk/2013/03/05/top-10-british-women-playwrights-3527120 Soyinka returned to Nigeria in 1960 as the country moved towards independence from Britain the late 1950s 1960s!: Dialogue, Indian, My Enemy and Party am still proud have! Produced in the National theatre black plays Archive, discusses its goals and you... Sucker Punch, by Roy Williams, is a Senior Lecturer in the National theatre black plays Archive discusses... Text in this article is available under the Creative Commons License Goddard is a West Indian background and black... Actors, it aired on Palm Sunday in April 1966 its premiere part! 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