Tiata Fahodzi, is celebrating a decade of producing work which explores the richness and heritage of theatre inspired by British-African communities. Aimed at all-inclusive British audience, the company has established itself firmly on the UK theatre landscape by continuously, placing British-Africans at the heart of its productions.
Regarded as the foremost British-African Theatre in the UK, Tiata Fahodzi, translates as ‘‘theatre of the emancipated,’’ and was founded in 1997, by its current artistic director, Femi Elufowoju, Jr, who has been at the helm of the company for the last 10 years. Born in London to Nigerian parents, Elufowoju Jr, originally trained as a solicitor before turning to dramatic arts. He worked as an actor for six years and later trained as a Regional Theatre Young Director in 1996 at Theatre Royal Stratford, before forming the company with the sole aim of addressing the under-representation of African theatre in the UK in the 90s. However, what started off as a small ambition is today, one of the most highly recognised British-African theatre companies in the UK theatre landscape. “I had a small ambition, it wasn’t huge. It was a small ambition to try and redress in my own small way, the perspective of black theatre in Britain as it existed then” says Elufowoju Jr. A perspective he believes to have mainly been that of a huge British-Caribbean viewpoint. “I had the opportunity as a theatre facilitator and storyteller to change that balance in a particular way and that’s why I formed the company” he explains.
Since its early beginnings, the company has staged 14 major productions and its play reading festival, Tiata Delights, which celebrates African playwrights, a platform for their work to be presented to the public for the first time, recently celebrated its third successive year. The company’s last major stage outing was ‘The Estate’ at the Soho Theatre in 2006, which won critical acclaim with critics and audiences alike. Elufowoju, Jr, describes his experience over the last decade as a “Huge learning curve. Running a theatre is like running a crèche; it goes beyond actually producing a play.” It is a responsibility he deems to be one that gives you the remit of carrying out certain roles; from managing personnel, keeping the artistes prepared, happy and valued, to fulfilling certain criteria’s with funding bodies, and of course, producing the work. He believes the latter, is “The most important thing because you want members of the audience to appreciate and connect with the work.”
Known for its instinctive approach and style of examining Black-British culture, its latest production is no different. ‘Joe Guy,’ written by Roy Williams, an award winning playwright and directed by Elufowoju Jr, and is showing at the Soho Theatre later this month. It explores issues of identity and celebrity, and the historical tensions and bitter prejudices, which exist between African and Caribbean communities, where young African descendants distance themselves from a unified Black Britain. On his decision to deal with a controversial subject matter, Elufowoju Jr, says “It’s controversial because people don’t talk about it. It’s sacred and almost a taboo actually” and he sees this production as “a vulgar exposure of the theme.” He hopes both British-Africans and Caribbeans are empowered because it is not meant to criticise anyone, rather, it is “An attack on both races and sensibilities due to the experiences permeating society.”
Tiata Fahodzi’s, alliance with Soho Theatre - regarded as a jewel in the West End for its choice of diverse work goes beyond a joint effort to create work for audiences and make profits. Together, they have collaborated on two productions - ‘The Estate’ and ‘Joe Guy.’ Lisa Goldman, artistic director of Soho Theatre, points out that Soho Theatre, aims to bring a balance to collaborations but admits, “We love the work of Tiata Fahodzi, and Femi’s work is always entertaining and invigorating but his purpose is deeply serious.” While she appreciates the artistic values embedded in Tiata Fahodzi productions, she also believes they are “Exploring vital contemporary themes and deep complex emotions. I think audiences respond to the richness of that experience,” she adds.
While Elufowoju, Jr, admits that the last 10 years of the company’s life has been, “An eclectic variety of exposing one’s self with its fair measure of trail and tribulation, emotions and celebrations.” He would also love to think that their latter years as a company will be euphoric times. Despite the challenges along the way, the company has been able to give back to the community for which it was created to fulfil a role by creating a platform for young British-Africans to maximise their artistic skills. Among those who have benefited from the work of Tiata Fahodzi, are Mo Sesay, Yvonne Dodoo and Nick Oshikalu. They all hold Elufowoju Jr, in high esteem because they get sense of camaraderie each time they work with him. They are in agreement about the prominent role of Tiata Fahodzi, which they believe is “To humanise the British African experience, allowing us to be seen as human beings, who have the same universal aspirations, flaws, goals and dreams as the rest of the British population” explains Sesay. Sesay and Oshikalu worked with Elufowoju Jr, on The Gods Are Not To Blame, its 2005 production at the Arcola theatre and are reunited with him for ‘Joe Guy’. Though Sesay has worked with Elufowoju Jr, on several projects, this is Oshikalu’s third time and on this occasion as an assistant director. “Femi allows me to portray human beings with all their complexities, their failings and successes,” says Sesay. Oshikalu credits the company for doors of opportunities that have been opened to him, “Personally, since working with the company, it has opened up casting opportunities that wouldn’t have come up with other companies and it has helped my personal development as an actor, and given me an amazing opportunity to try my hand at directing.”
While Dodoo, has only worked with Elufowoju Jr, once, in her role as Sola, in The Estate she has also reaped the benefits of being exposed before audiences through theatre and recently landed a role on The Bill for two episodes, to be shown in December. On his ability as a director and contribution to British-African theatre, they are fervent that “Femi is a credit to his contemporaries,” as affirmed by Dodoo.
While Elufowoju Jr, is excited about Joe Guy and anticipates how well it will be received, he is sure the future for the company is bright and he looks forward to Tiata Fahodzi’s eclectic repertoire of work which he believes will continue to enchant their audiences as well as an all inclusive British audience. “We have come a long way from our artistic mission statement, we wanted to say something about redressing” he says. Now we feel that we are at a place where we can leave the really classical indigenous forms of African theatre and now try to embrace theatre forms from both South of the Atlantic, British and Africa.” One of such future productions is its first family Christmas show, planned for 2009 at the Unicorn Theatre.
On his legacy, though he admits there are people he cannot be compared with, like the Oliviers and Branaghs, he simply wants to be remembered as “The man who allowed and found the ability for African theatre to exist within the mainstream British theatre and I want the legacy of Tiata Fahodzi not to die with my departure” he says.
This feature can also be found on the BBC London Website:
Image: Stephen Cummiskey
.jpg)
