No shortage of black talent: Lenny Henry, currently appearing in Fences, and Sharon D Clarke and Marianne Jean-Baptiste in The Amen Corner. Pictures by Trevor Leighton and Richard H Smith.
After a week’s celebration at the National Theatre of black artists in British theatre covering 50 years, what have we learnt? Joy Francis recounts her experience of attending some of the events and calls for a more permanent legacy to be launched.
For one exceptional week at the National Theatre, the public was reminded that black artists have been making a significant contribution to theatreland as actors, directors and playwrights for at least 50 years.
Walk in the Light, curated by award-winning actor Giles Terera, featured ‘In Conversation’ style discussions, with largely black artists, about their craft, creative journeys and their experiences of racism and discrimination.
Black artists such as Mona Hammond, co-founder of Talawa in 1986, Oscar James, co-creator of Temba Theatre in 1972, along with musical theatre favourite Clive Rowe and Tanya Moodie, currently receiving rave reviews in August Wilson’s play Fences, shared their different perspectives of the ‘black experience’.
A common theme during the discussions was the recent legacy of black actors having to contend with stark media criticism for playing classic ‘white parts’, despite being declared brilliant in the roles. Think David Oyelowo playing Henry VI in 2001 or Clive Rowe as Nicely Nicely Johnson in the musical Guys and Dolls. Yet, as is commonly known, white actors blacking up to play Othello until fairly recently was seen as acceptable in mainstream culture.
Another topic was the viability of colourblind casting and when to be culturally specific. Nicholas Hytner, director of the National Theatre, and Moodie both showed a deep reticence about the concept of colourblind casting. The idea that you can fail to see someone’s colour when casting is suspect when you consider the history of black artists being rendered ‘invisible’.
Award-winning playwright and actor Kwame Kwei Armah highlighted the need to be culturally specific in certain plays, such as Elmina’s Kitchen, set in Dalston. Having a white cast play the roles wouldn’t work in the UK as it is about a specific cultural and racial experience.
Cardiff born Rakie Ayola, who appeared as Paulina in the RSC’s a Winter’s Tale but also broke ground on TV in shows such as Tiger Bay and Masie Raine, was candid about the glass ceiling facing black actors. She was told not to expect too much as a black woman in terms of her career progression.
Ayola also drew attention to black actors (Idris Elba and Marianne Jean-Baptiste), going to the US to build their careers, and the fact that despite playing leading roles in the theatre, many black actors didn’t see that translate into long term success.
Walk in the Light ended with a two hour extravaganza in the Lyttleton Theatre with 72 performers packed on stage, the majority of them black. Hosted by a trim and youthful looking Lenny Henry, we were carried through five decades of theatrical achievements, peppered with the racial politics of the time. Black actors read the words of black playwrights, poets and writers such as Bola Agbaje, Winsome Pinnock and Mustapha Matura.
The legacy of Stephen Lawrence was never far away. David Harewood read the moving statement of Neville Lawrence on hearing of his son’s murder. “No one told me how Stephen had died. Nobody. No police officers spoke to us.” Neville and Doreen’s decision to bury Stephen next to his grandmother in Jamaica was heart wrenching. Even in death they didn’t believe he was safe.
We were also reminded of the black artists we grew up with and now rarely hear about. Norman Beaton is one. Famed for playing Nanki-Poo in the Black Mikado, and Henry’s dad in 70s TV comedy The Fosters, the BBC established the Norman Beaton Fellowship for aspiring radio drama talent in 2003 to broaden the range of talent. Another legend, Oscar James who closed the event, said he “never thought he would see so much black talent in one place, and at the National Theatre, in his lifetime”.
Now the celebration is over, this history lesson has to continue. To wait another 50 years for a passionate black artist to put on such an inspiring and necessary event is unthinkable. Having a permanent heritage exhibition, like a hall of fame, where people of all backgrounds can come to learn, be inspired and humbled at what black artists have achieved, often against the odds, is a no brainer.
Walk in the Light ran at the National Theatre from 15 to 21 July 2013 as part of the theatre’s 50 anniversary celebrations.