Black theatre in the making?
Playwright Oladipo Agboluaje
Oladipo Agboluaje is no stranger to the world of theatre, so when he was named the latest recipient of the Alfred Fagon Award for 2009, it was no surprise to those within the industry. Having gained critical success for his plays The Christ of Coldharbour Lane and The Hounding of David Oluwale, this award in the words of fellow playwright Michael Bhim, was ‘confirmation of his ability and talents.’
Agboluaje finds that he is ‘interested in telling experiences, both Nigerian and British’. Having been born in Hackney and educated in Nigeria, he’s in a position to do just that. His play Iya-Ile (The First Wife) for which he won the Alfred Fagon Award, tackled the political hysteria and social change sweeping Nigeria in the 1980s and was showcased at the Soho theatre in May/June 2009. As a PhD student in African Drama, he is well placed to write about such issues and is not afraid to call himself ‘a political writer.’ And it is for these reasons that he is able to broach subjects of a controversial nature which most writers shy away from, such as police brutality in his play The Hounding of David Oluwale. Agboluaje feels that ‘if [writers] are responsible for themselves they will write about society.’
While Black theatre may have taken a number of strides over the past decade, there was a time when black playwrights were a rare breed. But times have changed and it seems theatres across the country are sitting up and taking note. Agboluaje points out that ‘theatres open up as we bring in audiences in; not only a diverse audience but young people. So we have had a positive effect’ However, far from sitting back and basking in the glory of the achievements of the past few years, it seems a change in focus is needed. To affect really and long lasting change it is necessary for diverse groups to have representation at the decision making level. ‘Where things aren’t too good is that administration level at theatres is still very white. We have lots of actors by the bucket full and black directors. [What we need are] Blacks or Asians running theatres,’ says Agboluaje.
This is where the Alfred Fagon Award played a crucial role in offering support and recognition to British playwrights of Caribbean and African descent at a time when they were shunned by the mainstream. Something the 2005 winner Michael Bhim can attest to: ‘It gave me the recognition to be taken seriously in 2005 and the confidence I needed to believe in myself. It is the first step that pushes you into the industry. It is a massive thing for writers to get.’ The founding of the award in 1996 was a tribute by the family of Alfred Fagon one of the founding fathers of Black British playwriting to commemorate his death. The importance of which is not lost on Agboluaje either: ‘The awards stand for recognition of Black British writing, giving us a voice to tell our own story. Mapping out a history of where we have been and where we are going.’
A previous recipent of the award, Paul Williams was found eulogising ‘black theatre’s big breakout’ in The Guardian newspaper, celebrating the success of the ‘Not Black and White Season’ at the Tricyle Theatre (Sep – Dec 09) which showcased the work of Black British playwrights Bola Agbaje, Roy Williams and Kwame Kwei-Armah. However, the term ‘black writer’ itself can be viewed as being conceptually vague. This is something picked up on by Bhim ‘I am always supisicous of any writer who is more aware of their race. Black writer? Am I a colour? Me personally my Mum is Asian and my Dad is African. It is tribal and meaningless…unless we can be specific about culture.’ It is hard to determine whether the success of black theatre is is a reflection of the improvement of race relations in UK or not, but nonetheless Agboluaje feels that ‘we have to celebrate success or we are condemning ourselves as doing nothing.’
It must seem like awards are like buses for Agboluaje at the minute. Having been writing for a number of years without receiving the honours, then on the back of winning the Alfred Fagon award he is named as one of the Breakthrough Brits for filmmaking talent. ‘It was a very welcome boost, a great leg up. I meet a lot of industry people. A level that would have taken a lot longer if I had done it without the programme. I gained a lot of knowledge and insight that I am in a position to pass on to others.’ So having finally received the boost to his profile that all writers need, the only question that remains is, ‘What next for Agboluaje?’ ‘I just hope to be in a better position than I was this time last year; to be a better writer as I progress. I want my work to go international; plays in Nigeria and over Africa!’
Michael Bhim’s comment on the label ‘Black writer’ is spot on! Tribal and meaningless indeed. I’m so glad to hear someone in the industry be so honest.
Well done to Agboluaje. ‘Iya-Ile’ was a fine, fine piece of theatre and deserves recognition.
Shalom x