Tonight:
-3°c
It is with a mixture of curiosity and trepidation that I will go to Bola Agbaje's new play Off The Endz, which opens at the Royal Court on Thursday. Following on from her acclaimed “hoodie” drama Gone Too Far! in 2008, this new piece, starring Ashley Walters, is eagerly anticipated, not least by me. And yet the bastardised spelling of the play's title is itself enough to make my heart sink.
For the “z” replacing the “s” suggests to me that it's going to be yet another derivative black street play, probably set on a council estate, and probably with lots of patois and pimp-rolling protagonists to boot.
I am a passionate devotee of black theatre, and am always keen to support up-and-coming playwrights. But the overwhelming majority of black British theatre over the past decade — say, 92.3 FM (2006) or Random (2008) — can be categorised as being about guns, drugs and council estates. In 2010, the London theatre-going public is still being presented with the Theatre of the Ghetto.
Contrary to the all-pervasive mood of multicultural bonhomie and self-congratulation, there is actually something rotten in the state of black British theatre. With the exception of Kwame Kwei-Armah and one or two other playwrights, on closer inspection black British theatre is languishing in an intellectually vapid, almost pre-literate cacophony of expletives, incoherent street babble and plots which revolve around the clichéd staples of hoodies, guns and drugs.
In short, it is cruelly blighted by the ghetto mentality which passes for the only acceptable face of black British culture.
This representation of the black working-class experience should be deeply troubling to black Britons; and it is damaging to white British society's perception of us. For these plays conform to rather than confound stereotypes. Sad to say, but the ramifications of the theatre of the ghetto lie well beyond the South Bank or Sloane Square.
Artistically naïve, intellectually clumsy and lacking in psychological veracity, the theatre of the ghetto may have pacy narratives and physical action by the bucketload, often complemented by a ragga or grime soundtrack, but for the most part glaringly lacks anything more intellectually challenging or complex. At best, these plays succeed by masquerading as the voice of the marginalised black underclass, which by dint of acute white guilt and a commitment to diversity get an immediate audience at the capital's most prestigious venues.
And there's the rub. Constrained by the culture of political correctness, critics dare not challenge these works for their palpable lack of artistic merit, for fear of being deemed racist. Instead they are left no choice but to praise the peerless authenticity of the urban dialogue, or similar, to the hilt.
The theatre of the ghetto certainly has its place: it does indeed depict one reality of black life in London. But it is essentially limiting and stultifying. More nuanced, more deserving plays now need to be seen, depicting other, equally valid realities and facets of the black British experience.
For the ghetto is not black London's only reality. What about my reality? My milieu is comprised of barristers, doctors, media and arts types. We'd like our reality represented too. And I know for a fact that none of us spells “ends” with a “z”.
Reader views (36)
Mr. Lindsay John's comments make it painfully apparent why Black British writers numbers are dwindling.
"She's Gotta have it"? "School Daze"? "Mo' Better Blues"? "Crooklyn"?
Not giving Spike Lee a chance may have lost the Americans "Malcolm X" or "Miracle at St. Anna" and the ground breaking "Boyz N the Hood"!! Which was instrumental in curbing gun violence in Compton CA. Get your nose out of the air Mr Johns and see the play before you slam it.
- Jan, London and New York, 19/01/2011 05:00
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I always celebrate any journalist writing about theatre for/by Black people, since Black theatremakers are rarely considered newsworthy. Lindsay's article makes some very valid points about the limits of the UK Black experience as perceived by mainstream media. However, without critical reference to specific plays, the article as a whole fails to justify its premise. Not all plays about ghettos or slums are the same. Would Lindsay bracket "A Taste of Honey" with "Look Back in Anger"? Yet, they are both about White working class experience.
Furthermore, the tone of the article and many of the comments drift dangerously close to criticising plays for their subject matter, as opposed to their dramatic content.
What matters is that a play presents a subject in an original and provocative way, that stimulates a new way of thinking about the subject. The situation/subject matter could be ghetto, barristers, doctors, barbershops, or call centres.
FYI trolls, there is nothing wrong with theatre being labelled as Black, so long as we label mainstream theatre White. Theatre with all White casts, written and directed by White people may not call itself White Theatre, but it most definitely is.
- Segun Lee-French, Manchester, 23/02/2010 16:05
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Whatever point of view anyone holds, time is ripe for this debate. Lindsay johns has provoked a first class discussion here, with some intelligent, articulate and crafted comment from across the board.
Endorsing Ava's last comment, would like to see Lindsay John's write a piece about say, the National Black Theatre archives and its projects, which I've found out about after wiki-ing up commentator Simeilia Hodge-Dallaway.
- Claudette, West London, 16/02/2010 14:25
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I ask this: why would someone make such sweeping statements relating to a piece of black theatre or "theatre of the ghetto", that they haven't even seen? What are these opinions based on? A Title? Rather presumptuous, I feel.
I wonder if Johns saw "Detaining Justice"? If so, why didn't he include a paragragh of positivity refering to the issues that Bola so brilliantly presented us with.
I agree that "Black ghetto-isation is NOT the only experience to be coming out of creative young blacks in Britain", and thank Brenda, London and playwright Leo Butler for their comments which stand as testament to that.
What I love most about theatre is that it brings “other worlds” to unfamiliar territory: enlightening and providing an insight into lives, cultures and communities that some audience members would never in their daily lives come into contact with.
I have experienced many great pieces of "Black theatre" and I am sure that the nameless "one or two other playwrights" Johns refers to are amongst them. If he focused on sharing his experiences of the plays that he did like, as oppose to the titles that he doesn't, perhaps more people would go out of their way to see them.
- Ava, London, 15/02/2010 16:21
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I fully accept the views expressed in the article by Lindsay Johns but would like to suggest another perspective hinted at in several contributions when referring to 'gatekeepers'. I have been a playwright since the mid eighties and worked as an actor in all forms of theatre since 1978. I have for a long time been concerned by the mechanisms that support 'ghetto mentality' in the way described. I realised early on that the theatre system in which I work has a prurient interest in the world of this 'exotic other'. It occurred to me that writing such work was a useful pre-condition to actually getting a production on stage, something my observation over the years appears to confirm. There is no scientific means of analysing this other than to accept the case Mr Johns notes and the many voices that support his perspective. I say this on a day when the main news bulletins have not fully marked the passing of Cy Grant, who was a significant figure in any analysis of British culture. I referred to the fear an audience has of seeing another act of violence perpetrated by a black character in a play in my "Eclipse Theatre Story" published in 2006. Within Sustained Theatre - an arts council funded programme - we are keen for change addressing Archive, Critical Debate, Leadership, International connection and Spaces (to develop work). The points being made here are an important part of the critical debate we need.
- Tyrone Huggins, Birmingham, 15/02/2010 15:03
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I strongly support Lindsay's argument. As a young black 19 year old from Peckham in South London, the last thing I would want to see is another play depicting the dark side of a town with so much bright light shining through it. Almost all my friends from Peckham got into the top 15 universities including Oxford and LSE! Now I'm studying Politics and Economics at Sussex. Why don't they show more plays depicting this kind of story. The knife and gun carriers are in the minority, so why bother to focus our attention on them to make them feel important?
I salute you for producing such a piece!
- Micheal W, Peckham, London, 15/02/2010 13:18
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I agree with Alice's comments that there is more to black theatre of the past decade than so-called 'ghetto theatre', and Kwame Kwei-Armah is not the only one writing these plays. But it probably IS the fact that these 'ghetto plays' get more attention than others simply because they are topical and yes, important. These issue DO need to be explored. For Johns to make such sweeping generalisations about 10 years worth of theatre is problematic. A considered statistical survey (or some attempt at looking at the facts) would be more useful than a tabloid rant aimed at stirring things up and making an Ishmael Reed style name for himself. But hey, a tabloid rant is much easier to pull off, huh? And the right-wing standard would of course love it. Clearly Johns never saw RANDOM, for eg, which which in no way fitted the 'almost pre-literate cacophony of expletives, incoherent street babble and plots which revolve around the clichéd staples of hoodies, guns and drugs'. For a start RANDOM used heightened poetic language to tell a story that involved a boy getting killed, among other things. It's very easy to deliver a rant based on an 'impression' of what is out there. It's much more difficult to write a more reasoned piece based on the facts. But then again, this is tabloid journalism, and from many of the responses above, people want a target for their anger because the issue of what 'black theater' is made and who produces it IS problematic. So, what solution is Johns offering?
- Brenda, London, 15/02/2010 08:27
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CLUBLAND and DAYS OF SIGNIFICANCE by Roy Williams; BLEST BE THE TIE by Dona Daley; OXFORD STREET by Levi David Addai; FIX UP by Kwame Kwei Armah; WHAT'S IN THE CAT by Linda Brogan; WIG OUT and THE BROTHERS SIZE by Tarrell McCraney; STONING MARY by Debbie Tucker Green; ...
Apologies for the plays I missed out, but these are just a handfull of plays that aren't centred on the black 'ghetto' experience. Instead of looking at the theatremakers, perhaps we should examine more what areas of the black experience the journalists and media chooses to fixate on.
- Leo Butler, London, England, 14/02/2010 12:14
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When I read the article by Lindsay, I felt that all my experiences as an actress of Asian origin had been beautifully summarised. Whether it's black theatre or Asian theatre( the words themselves smack of segregation) it's the white gatekeepers who are making the decsions of what 'black' or 'Asian' culture is. Asian theatre is so appalling that the auditions I've been on, I've purposely sabotaged. The scripts read like some bad, 1970s racist version of Eastenders where the women are only concerned with their family life and chappattis. I often wonder who sees these plays and how they even get funded.
Just like British blacks, the portrayal of Bitish Asians is a stereotypical one that's drummed into the national pysche over and over again. As annoying as it is for me as an actress, because I will never be seen for a character that I could play.. but for 'an asian woman' who merely has to play out a stereotype, it's more damaging to the children of minority parents who don't get broader representations of themselves in the media. Where their parents have been exposed to all types of media portrayals of themeselves in their countries of origin, their children get one version in the UK. And this propoganda then informs them that that's all they are and finally children of minorities end up becoming that very stereotype. Black and Asians artists need to work together to stop this cultural slavery.
- Somi De Souza, London, England, 12/02/2010 11:57
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Well said Lindsay, reluctant as I may be, I have to agree with you. I also challenge anyone who as heard London’s Black (oftentimes pirate) radio stations blaring snippets of the latest offering from Blue Mountain theatre i.e. Bashment Granny, Deportee or Dutty Wine to name a few,to not also suffer the same cringing fate. Admittedly, these are at the far extremity of what can be considered black theatre, still though, very heavy on 'cringe' considering that our youth are within earshot of such negative and image destroying portrayals of ourselves. Forgive me fellow readers but I’m an ‘old fogey’ who has grown up in an era where although many of my contemporaries where wallowing in poverty in Jamaica…we still had very positive things to say about ourselves and identified with things which uplifted us ‘Rose growing out of concrete if you will’. We need a moratorium on negativity, even if for a short while; who knows, maybe our young people may start to buy into this new way of self reflection.
That being said, I will try my best to see ‘Off The Endz’ and if Lindsay’s comments are spot on, hopefully Bola Agbaje's will take these comments posted for this article onboard and seek to address some of these issues in her future offerings. If, it so turns out that Lindsay’s comments are not prudent, this groundswell of emotion evoked by Lindsay, will prove that we are in general tired of consistently be stereotyped in negative tones..playwrights, theatreland, gatekeepers take note!!
- Paul, Brixton, London, 11/02/2010 19:54
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Lindsay Johns - a tip of the hat to you. Thanks for this discussion, one that very badly needed to be raised. Some very interesting comments on here.
With people like Simeilia, Ms J Sounds and Talawa Theatre, you've given a platform to people who I'll be looking out for. Like Patricia says - nil desperandum!
- Jools, London, 11/02/2010 18:01
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In total agrrement of this piece. The black experience is under represented, and i feel this is once again a deliberate act form the 'gatekeepers' whose job it is to represent us this way. But let us not forget writers such as Oladipo Agboluaje who wrote The Estate and the First Wife and Femi Oguns who wrote TORN to name but a few. We need more voices like these.
- Tunde Areuba, England, 11/02/2010 16:18
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Excellent article Mr Johns and I know a lot of people will back your opinion on this too.
Theatreland has been saying for a few years now that not enough Black people watch stage shows (especially in the West End) and along with certain concessions that are now available, to get us to buy tickets, more productions need to be put forward that we can relate to and that doesn't for an instant mean serving stuff we've been fed on, time and time again.
There's absolutely no challenge in lazy stereotypical writing. Bola Agbaje is a talented young writer, she needs to show us her skills, show us she can come up with something spectacular that doesn't re-affirm the negativity and dysfunctionality of the black community. After all, we can get that easily from the mainstream media anytime!
- June, London, 11/02/2010 15:18
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Commenting on Lindsay Johns article on Black theatre I'd like to raise my pen in salute to his views. As a Black playwright I've found it frustrating that the Black plays that are staged are those that conform to sterotyped images. I have written a number of plays involving mainly Black characters; including two family dramas and most recently a drama that protrays a young Black entrepeneur, with not a drug dealer, or knife man in sight. I am keeping my fingers crossed with this latest play, which has received interest from both Soho and Royal Court Theatres and it would be great to see that these artistic venues are willing to break the mould. As a Black playwright I'm trying to write about all aspects of Black life. The good and the bad. I also think that there's room for musical backdrops, whether it's grime, hip hop, jazz, or any other musical 'note' and also room for Black slang, or Blangish interwoven into dramatic pieces. I think though that these techniques can be used to tell the stories of a diversity of character profiles, not just the ex- con, ex-drug dealer, shoot 'um up, stab 'um up Black dramas that dominate the stage. I think this predominance of negative profile however may be the fault of the Artistic Directors' of theatre, rather than the Black playwrights, who may write 5 plays about the Black middle class, but the one play they write about the Black drug dealer will be the one that predominately white theatre says- 'Yes, excellent. We'll have that one'!
- Ms J Sounds, Sudbury, 11/02/2010 13:44
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I agree that much of the Black British experience is not seen on stage in London's most prominent venues. What I call 'newspaper plays' dominate these stages. Talawa works to bring a wider range of work to the stage. It is not always easy to do so. The stories that dominate the media, the existing body of work, the understanding of what is seen by the cultural gatekeepers as authentically Black British all contribute to this problem. There are different voices waiting in the wings. I would ask Mr. Johns not to despair just yet.
- Patricia Cumper, Talawa Theatre Company, London, 11/02/2010 13:19
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As someone who reads plays by black British playwrights on a daily basis I have to agree with Lindsay's article. Reading plays from the 50s, 60 and 70s to present day there is an obvious drop of the amount of Black representation on stage. Black has became urban which in my opinion posses many problems. The first being some playwrights feel the need to produce work which is urban, street...cool...one that conforms to stereotypes. As I read plays by Barry Reckord, Derek Walcott, Edgar Nkosi White, Trevor Rhone, Mustapha Matura...etc these plays were simply about human relationships, the effects of social politics on black people in different social settings. And because of this, playwrights used the platform to present various representations of the black community as well as evoke intellectual social debate. Also, there was a general respect for the craft of playwriting and language (English, Creole, Patios...) which, in my opinion has (sadly) changed significantly.
I think that this is a valid and important comment on black British theatre today which shouldn't be looked at as an attack on Bola or a put down on black theatre. But simply a cry out to playwrights, gatekeepers and the public to expect and want a little more. More playwrights, more representations and more commissions. I think if some black playwrights (and gatekeepers) only knew what plays went before them they would know that the future should have no limits. Knowledge is power.
One love
- Simeilia Hodge-Dallaway, London, 11/02/2010 12:10
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Pupil A is overly 'congratulated' for achieving 50% marks - he will hardly aspire to get more than that.
Pupil B achieved 69% and was reprimanded because 95% is 'expected' of him - he will not be satisfied until he gets close to that.
Most of the time Pupil A is Black.
It's all about setting the bar high.
Self pity or 'chip on the shoulder' attitude to everything will not get anybody anywhere - likewise, misplaced arrogance.
Black theatre in the UK needs to grow - simple as ABC.
Constructive criticism is only handled well by the brave and the able....
so Alice of London, I'm sorry to tell you that I still don't agree with you, I don't need to read more papers than I read now to 'expand' my horizons and I will still think twice before going to a 'Black' show.
- Middleclasschuv, Chiswick, London, 11/02/2010 10:54
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Yet again the overall point of this play seems to have been misplaced by what i can see is sheer ignorance.
Have any of you stopped and thought about how this play is going to benefit our community. Thus far how many plays have allowed so many ethnic actors a platform to show case there talents? How many plays that are shown "up town" attract young people from disadvantaged backgrounds? Buy opening a door to these young kids by showing a play they can relate too may inspire them to do something better with there lives.
Mr John, it seems you have come from a great family, educated home, however i feel the target audience for this play have not, and would not relate to you, however they will relate to Bola, and thats the important thing here.
If she had titled the Play "Ends", this kids would not relate and would not show up, however buy taking the time to connect with them i think the show will attract an amazing amount of young people who may never have even been to sloan square let alone take a seat i the Royal Court.
- Tanya Samuel, London, 11/02/2010 10:01
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At Middleclasschuv:
John Lindsay's comment is based on the title of a play he hasn't even seen. How can that be CONSTRUCTIVE criticism? From that shaky foundation, he proceeds to indict Black British theatre as a whole. That is a dubious piece of journalism...
And as to Brian Sewell's critic of Chris Ofili ("Please don't give Ofili more money" - The Evening Standard): why would it be more valid than Perry Grayson's ("It's like a musician having perfect pitch" - Art Forum) or Tom Lubbock's 4 star review in the Independent?
Do not make the assumption that daring to criticize black art/culture is progressive. What's progressive is to have an INFORMED opinion. Can I suggest that you read other newspapers than the Evening Standard to expand your horizons?
- Alice, London, 11/02/2010 01:27
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Bravo Lindsay! I totally support your view. This needed to be said. A brave but totally on point stance. As a black middle class woman I am relieved that this has finally been brought out into the open. Thank you
- Anna, North London, 10/02/2010 20:51
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Lindsay's article was spot on. This type of play simply feeds negative views of black people and their experience. I am tired of continually seeing a 'media view facimile' portrayal of a black man :
A wise cracking
Fast talking. Laughing
Smiling. Drug taking
Non thinking
Smooth plaything ( from one of my poems)
Whilst it maybe some black peoples experience, it is not one I know in my family or friends, and I would describe myself as working class. My experience is hard work, parental discipline, hatred of drugs, aspirational thinking. Any chance of my black expereince being replicated by the media - I shall not be holding my breathe.
- M Thomas, Sunbury, 10/02/2010 15:08
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To Alice, London and John Edwards. London.
Whatever happened to Constructive Criticism? I am sorry that you don't agree with Lindsay, but really you have to genralise sometimes. What he said is SPOT ON my dear friends. Why do we have to 'research' to find out what Black theatre is all about? we should be able to pick any (or a few) random offering(s) in a popular place like London and have a sense of what they're all about - at least most of the time - and Lindsay's experience is generally true for most of this Black artform.
I notice that constructive criticism never goes down well with anything to do with 'Black'. This is bad and will never allow 'Black' issues to develop and evolve. I am a professional and my black friends (most), are somewhat to of the type Lindsay listed. It is disheartening sometimes when we want to organise cultural events and 'Black Culture' is involved (be it comedy, art or theatre), some of us excuse ourselves because we know some uncomfortable/unnecessary subjects (racism/poverty/crime) will most likely emerge from what is supposed to be fun for everyone.
I mean, expand your horizons people!
You should read Brian Sewells commentary on Chris Ofili's exhibition - now that is a harsh, but very honest review which I am sure the likes of you guys will struggle to see the positive.
- Middleclasschuv, Chiswick, London, 10/02/2010 14:05
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Lindsay Johns needs to brush up on his black theatre and go out a bit more. There are more than “one or two other playwrights” whose work defies the ghetto stereotype: Roy Williams, Oladipo Agboluaje, Michael Bhim, Mojisola Adebayo. This week, The 14th Tale, a play by young Black British poet Inua Ellams opens at the National Theatre. Will you say that the following lines : ” I’m from a long line of trouble makers, of ash skinned Africans, born with clenched fists and a natural thirst for battle, only quenched by breast milk’ are ghetto?
Lindsay Johns would have written a much better article if he had acknowledged that “ghetto theatre” as he calls does not represent Black British theatre. He could have also examined the role of the media and funding bodies in the production of this “ghetto theatre”.
There is another type of black British theatre that is not depicted in the pages of mainstream newspapers. It’s up to you to be a bit more curious and do your research. But I guess it’s much easier to sit down, read the Evening Standard and agree with what is nothing more than an ill-researched opinion piece by a “journalist” who likes to revel in negativity (did any of you bother to read his other articles: ‘Enough Mary Seacole – black Britain needs news icons’, ‘Get out the ghetto and enjoy London’s great art’). I guess Mr Johns has found his niche. What will he write next: "I'm Black and I read"??
- Alice, London, 09/02/2010 23:48
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I have read your article and think it's a bit harsh and not looking at the whole picture, I am a black professional and a owner of many successful businesses and came from a so called Ghetto background, i sometimes feel my story needs to be told in a positive light, to show my struggles as to how i got to where i am today.
We can say the story has been told and cliché but it is a reality for many young black youths, if the story raises awareness and shows the youths that there is an option to drugs, guns and violence then it needs to be told.
You are misinformed in thinking that her last play was "Gone too far", her last play in Nov 2009 "Detaining Justice" was on at the Tricycle theatre in the not black and white season nothing to do with drugs, guns or the ghetto, it dealt with immigration issues and funny enough someone like yourself from "The Observer" dubbed her "A new generation political playwright".
Now what is confusing to me is how having not watched it as it's not out till thursday, anyone can write such a judgmental and assuming article based on a title. I always thought it was best said "Never judge a book by it's cover".
And to close, for those of you who have left a comment about "plays like this", i suggest you refrain from being narrow minded and go and see the play for yourself and come to your own opinion rather that going on the views of a man that has not seen any of her plays.
- John Edwards, London, 09/02/2010 22:38
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I think people should reserve their judgement until they watch the play surely? To try and pour scorn on a play before it's opening night on the basis of the title? I think it's a push.
To challenge an ignorance or a lack of a wider context of a play by judging it on its name alone............I'm not sure about that.
- Jon, London., 09/02/2010 22:08
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Lindsay hits the mark with the article. It's both disappointing and sadly predictable, that these plays are supported and given a platform, but the main culprits are us, members of the black community. The lack of any type of rigour, or quailty astounds me in these plays, and as a black guy, it scares me, literally, that there seems to be so many black people who actually think these production can be seen to be beneficial, postive and progressive. I see them as personifications of a complete, COMPLETE lack of class, dignity, and I find them an affront to the pursuits, sacrifices and achievements made by some of the most dignified and hard-working people who ever came to modern Britain: our parents.
The white middle-classes will continue to support this, as it supports a status-quo, which suggests black people are limited in their views, aspirations and ambitions, and are happy to constitute a culture of dependancy. It makes me so angry, but also quite upset. There are many black practioners across the capital, who aspire, involve and partcipate in a world a million miles away from what is portrayed in these plays, and it isn't because they are rich. Its because they represent and engage with the success and opportunity London provides. Too many black people think understanding city life and 'knowing da yoof', equates to the stereotype, the dis-organised, the insular, the dependant, the fragmented, and the dysfunctional. Sadly, we seem all too happy to support this
- Jeff, London, 09/02/2010 21:52
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I always enjoy reading Lindsay's articles and agree with his comments about black theatre and I definitely agree that the ghetto is not the only reality of black London.
I am from London but unlike Lindsay my friends are not barristers, doctors, media and arts types, but hard working black people who have worked hard to shake off this stereotype that plays like this represent. Although this maybe a reality for a few this is not the reality of the majority.
- Dee, London, 09/02/2010 21:27
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Spot on Lindsay,time and space will not permit me to expand on the theme, but suffice to say that the Ghetto is not the natural constituency of black people ,keeping it real keeping it street,selling out , the inability to express ,inarticulate, pple just love to pigeon hole , let all strata of black pple be shown , ghetto this ghetto that Violence here violence there, lets have more Writers,Architects ,Art's administrators,Trustifarians
IT Millionaires,Airline Owners shipping Barons Media Barons, Bio Tech Barons
- A Loj, London, 09/02/2010 19:38
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The trouble with black theatre in the UK is that it always seems to be about being black, and the terrible trials and tribulations of being so in such a racist country. Not all black playwrights write about being black all the time, but the majority do the majority of the time and it's more than enough to have forced black theatre into it's own earnest and wearisome pigeonhole with no help from the bigots. I went to see 'The Hounding of David Oluwale' at the Hackney Empire last year and it was all to obvious who the villain of the piece was despite David being mentally ill and a violent handful and the events occurring in a very different UK. Get some perspective.
- Squiz, Islington, 09/02/2010 19:30
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An excellent article, right on the money. This kind of theatre definitely still has value, but after watching Gone too far, as with other similar plays, I did find myself wishing that Ms Agbaje had gone just a little further in trying to show a wider range of characters reflecting less stereotypical facets of the british-born black experience. Still, wasn't a bad debut at all.
- V Ojo, N London, 09/02/2010 16:52
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When I saw the title of this piece I shuddered at what it would say. Having read it I wholeheartedly agree.
(To the ignoramuses who cannot read Lindsay Johns merely uses the term ‘black theatre’ to describe pieces with majority black casts. I presume if you take umbrage with that you also object to ‘white theatre’, theatre with majority white casts?)
Like Lindsay Johns, I am a Black Briton, living in London but not from London. Like Lindsay the ‘ghetto experience’ is no more a part of my reality than life in a small Afghan town.
I too share my milieu with barristers, accountants (comme moi), media types, solicitors and bankers and am saddened every time I see a TV show or theatre piece with a majority black cast as I know exactly what to expect.
Ironically if I wish to see any portrayals of black people outside of this box I need to turn the USA for the diversity of its portrayals.
It is rather racist stereotyping, sadly mainly undertaken by black script writers, which state to be ‘black’, authentically so is to be ‘ghetto’. And to limit that thing referred to as ‘black culture’ as the culture of hip-hop and council estates.
I vote with my feet and my money and don’t watch such pieces.
- Stephanie, London, UK, 09/02/2010 16:24
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Echo A Adams comments. A well written article with many pertinent insights.
Black ghetto-isation is NOT the only experience to be coming out of creative young blacks in Britain. Reading Lindsay Johns, I had Ian Dury's refrain "What a Waste" going through my mind. If writers and playwrights get speedy awards and play-runs for writing about the ghetto, naturally that's what will be submitted. In fact, it's all too easy to shape and skew young writers against writing anything else. To make them feel it's a betrayal, politically incorrect to write something outside of the hoodies, guns and drugs life. THAT is what really extends, stereotypes and imprisons a ghetto life.
It's very easy, lazy, to hand out awards and plaudits for coming up with the worst of the worst council estate underclass narratives - as if it somehow encompassed THE uniform black experience. Takes a lot more gumption and awareness of the creative impulse for bestowers of awards and theatre-runs to raise their game to include ALL of the immense diversity of the young black experience.
It's as if the middleclass movers and shakers in the business themselves DEFINE young blacks as hoodies, guns and drugs. Too incurious to find out any more, they feel it's REAL to have their worst down and dirty expectations confirmed. At a remove. So they go overboard with those who can write and script ghetto tales.
Ghetto life isn't the only life on a council estate and Ghetto Theatre isn't the only fruit.
- Carole, London, 09/02/2010 16:11
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Ever been to a white only Theatre?
"Contrary to the all-pervasive mood of multicultural .."
I suggest you get out of London and find out what the real mood of the country is.
If minorities want to be apart of this society then I suggest they stop retrenching and join in with this society. Black Theatre, National Black Police Association, etc. ... really.
- Frank, Home Counties, England., 09/02/2010 14:24
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MArk, London. I think you miss the point. If it wasn't " black" theatre it wouldn't get any funding or release on the stage, Not only is it written in a victim mentality, the funding is dependent on it as well. Well written article by Mr Johns. Unfortunately there is one other thing he perhaps did not mention. There is a LOT of sub par theatre on London stages because it's the pet project of some "luvvie" group.
- Jon, london, 09/02/2010 13:31
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A very well written article Lindsay.
Plays such as this would only add weight to the already prejudice and conformist views as depicted by British society of the black working class society. Looking at this with a degree of empathy British society already have a very limited and biased insight into the black working class society so who can judge them if this is presented to them by a play writer who comes from the portrayed background and can only highlight the troubles which is synonymous with any working class background rather than one which is exclusively black.
I would like to see Black theatre celebrating the ideals of growing up from such a privileged background which highlights and embodies the ideals which I know all too well such as discipline, ambition, hard work and respect.
If we are to question British society’s ignorant opinions, lets start by looking at our own representation and how we are perceived rather than conforming and furthermore underlining their already prejudice views; more so when taking the stage under the spotlight as an ambassador of the black working class society and the majority of the audience have already been exposed to external slant views.
- A Adams, London, 09/02/2010 13:19
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I totally agree Lindsay, but wouldn't the best way to express your view simply be to stop categorizing theatre as black or white? Encouraging any group to think of itself as separate is divisive and self-fulfilling. Racist attitudes have been reducing as people succesive genrations come to see people of different colours as normal, not distinct. Can't theatre be the same?
- Mark, London, 09/02/2010 12:24
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