An African Theatre Renaissance

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:

http://www.bbc.co.uk/london/content/articles/2007/10/17/your_london_tiata_feature.shtml

Also featured, is an image gallery of Tiata Fahodzi's 10 years in Theatre:

http://www.bbc.co.uk/london/content/image_galleries/your_london_tiata_gallery.shtml

Image: Stephen Cummiskey

New Beginnings

Regarded as Britain’s best-known Black-led theatre company, Talawa Theatre Company is celebrating 21 years on the British theatre landscape with its first full Production in two years - Pure Gold, written by Michael Bhim, an emerging playwright, who is gaining the respect of his contemporaries. Is a renaissance on the horizon for Black-British theatre?

When you first meet Michael Bhim, you get the impression of a quiet and reserved young man. Beneath the exterior of his calm and unruffled personality, he is letting his pen do all the talking that needs to be done as part of a group of young and emerging playwrights in the UK from the Black-British community. At 26 years of age, Bhim’s first full length play, Pure Gold, is currently showing at the Soho Theatre, as a collaborative production of Soho Theatre and Talawa Theatre Company.

Together, Bhim and Talawa are putting Black-British subjects on the UK theatre landscape. Adding to his already budding list of accolades, he was recently nominated for the Meyer Whitworth Award for his short play, Distant Violence, an honour which he say makes “Me feel extremely grateful to the people with tons of experience in this field who have supported me.”

Three years ago, becoming a playwright was a distant thought to Bhim, who dropped out of College but later went back to pursue a (BA) in English and Literature. “It was the last thing I’d ever imagined myself to be. Three years ago, writing was irrelevant in my life, as was theatre” says Bhim. However, the case is now the reverse because Bhim’s second play, which he is currently developing, has also been commissioned by Talawa Theatre Company.

The journey has been a learning curve for Bhim, from the days when he was inspired to write his first play to its first reading at Tiata Delights 2006, a reading festival which celebrates writers of African heritage and organised by Tiata Fahodzi, one of Britain’s foremost British-African theatre companies. Bhim, whose roots stretch to Africa (Zimbabwe) and the Caribbean, and he is quintessentially British, delights in the knowledge that he is an avid observer of his immediate environment. Hence, it is no surprise that Pure Gold, which deals with the themes of fatherhood, poverty and family tensions, and described as a snapshot of Black inner-city life, as a father struggles to provide for his family. Bhim explains he was inspired by “The many people I lived with, in and around inner-city London, watching how our deferred dreams manifested in our daily lives.” He also drew from his personal experiences and family background while writing the script, “Growing up, there was hardly any money, lots of ambitions, good intentions and dreams but no money” he says.

Bhim, credits his life’s experiences as the pool of creative wealth, which has helped him to better understand the importance of character and dialogue in script. “We carry a wealth of cultural history in the way we speak and for me a character is about life’s experience and emotional state” explains Bhim. When he is able to fit these different factors together and imagine what it is like to live a certain way, then he can step into the shoes of the character he wants to create and find the truth.

These are some of the artistic values which were embedded in the script and attracted Pat Cumper, artistic director of Talawa Theatre Company, also an accomplished playwright and one of the UK’s most respected Black writers. “As soon as I read Michael’s play, I knew it was something I wanted to bring to the stage. He writes about the Black British experience in a way that makes it universal and powerful” she explains. The future of the working relationship between Talawa and Bhim was further sealed as Cumper admits being impressed by Bhim’s ability to bring his characters to life. “I was immediately impressed by the complexity of the characters and their relationships, and gave ordinary characters a poetic voice and observed them with great humanity” she says.

As a theatre company, Talawa has taken rest from the public stage in the last two years, gone through a process of re-structuring and is back with its vision of exploring the Black-British experience and finding the voices that tell Black-British stories. It is a period in the company’s history which Cumper believes has allowed them to go back to basics in order to return as, “Re-branded, re-focused and revitalised with a clear mission; to tell Black British stories, nurture the talent to best do so and welcome Black audiences, and audiences for Black work to our productions.”

One way Talawa is developing and nurturing this talent, is through its New Writing programme and has worked with the likes of Derek Walcott and Courttia Newland in times past. The New Writing arm of the company comprises of Talawa Writers Group, Script Development and Script Reading. Bhim has benefited from being a member of Talawa Writers Group, which offers emerging and established playwrights the opportunity to expand on their skills with key industry leaders and present their work in a showcase of play readings. “Sometimes, the best thing you can do for a writer, is to believe in their work and put your money where you mouth is” explains Cumper. This seems to have paid off with Bhim, who credits Cumper for the assistance he received while working with Talawa. “Pat Cumper, the artistic director has been a great pillar of support and encouragement. As a writer herself, she has immense understanding of how to mentor a new writer such as myself” he says.

For Bhim, whose primary aim was “to create a fresh artistic identity for the Black-British image and have people relate to the experience of the overlooked voices in this country.” It looks like his plan has worked with well respected critics like Lyn Gardner of the Guardian newspaper admitting the play has grit to it.

While Cumper and Talawa have plans to keep developing their writers and new writing through stories that reflect Black-British life, she also envisions the future of the company as a bright one with shows across London and the regions Most importantly, she would like “TalawaTheatre Company to have a solid reputation for excellence, and a loyal audience for our work and be a respected part of Britain’s cultural landscape” she explains.

For Bhim, who remembers sitting in Hyde Park not long ago with the script for Pure Gold in his hands after it had been rejected by every theatre but looks back today and is grateful for how uncompromising about what he wrote. It is not strange for every writer to desire their work is produced. As for Bhim, “I no longer worry about the things I can’t control. I’m a writer and I write, that is enough for me.” he says. “If I get the chance to share my thoughts and feelings with the outside world, it is a bonus.”

While recent times has seen a continuous growth in the rise of British Playwrights, from Kwame Kwei-Armah, whose new play, Statement of Regret will be at the National Theatre this November, to Roy Williams, also opening this October with Joe Guy, showing at the Soho Theatre and the added bonus that Pure Gold was a success. It looks like a bright future is indeed in-store for Black-British theatre in the UK.

A version of this feature can also be found at: http://sayitloud.org.uk/data/index.php?option=com_content&task=view&id=259&Itemid=75

Image: Talawa Theatre Company