Abstract
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. This shift is arguably an acknowledgement that black playwrights’ work is of a wide significance that warrants greater exposure than can be achieved within small-scale black and touring companies. As Winsome Pinnock demonstrated in her article ‘Breaking Down the Door’ (1999), black playwrights have sought mainstream recognition and the production of black plays is often figured as a way of generating new audiences beyond the white middle classes who are the typical theatregoers at London’s mainstream theatre venues:
As one of the playwrights to emerge in the Eighties, I would say that I, like others of my generation, did not feel that my work should only be produced by the black theatre companies but that they should have a place within the mainstream. When a play by a writer like myself is presented on a mainstream stage, the profile of the visiting audience is radically changed. (Pinnock, 1999, 32)
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Notes
As a result of the report, the Eclipse Theatre Company was also founded to produce middle-scale black plays in consortium with regional theatre venues, including the Birmingham Rep, the New Wolsey Theatre, Ipswich and the West Yorkshire Playhouse. The Eclipse Theatre Company tours productions to middle-scale regional and London venues; their black British productions include Roy Williams’ Little Sweet Thing (Hampstead Theatre, 2005),
A Williams’ Angel House (West Yorkshire Playhouse, 2008)
Oladipo Agboluaje’s adaptation of Kester Aspden’s The Hounding of David Oluwale (West Yorkshire Playhouse, 2009). The company moved to a permanent home at the Crucible Theatre, Sheffield, in 2010, and was confirmed as an Arts Council National Portfolio funded company in 2011. See http://eclipsetheatre.org.uk (accessed 4 August 2013).
‘Urban’ plays include Agbaje’s Gone Too Far! (Royal Court, 2007) and Off the Endz (Royal Court, 2010), Levi David Addai’s 93.2 FM (Royal Court, 2006) and Oxford Street (Royal Court, 2008),
Kwei-Armah’s Elmina’s Kitchen (National Theatre, 2003), tucker green’s random (Royal Court, 2008) and Williams’ Fallout (Royal Court, 2003) and Little Sweet Thing (Hampstead Theatre, 2005).
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© 2015 Lynette Goddard
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Goddard, L. (2015). Beyond Identity Politics: Black British Playwrights on the Mainstream. In: Contemporary Black British Playwrights. Palgrave Macmillan, London. https://doi.org/10.1057/9781137493101_1
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DOI: https://doi.org/10.1057/9781137493101_1
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