Talawa Theatre Company: A Theatrical History and the Brewster Era

Description

This study - the first of its kind - examines the history, performance work and achievements of Talawa theatre company under the tenure of its co-founder and artistic director from 1986 until 2003, Yvonne Brewster. The notion of achievement is understood within the contemporary British theatrical context, highlighting the originality of Talawa's work and, by extension, the company's commitment to its mission statement. The book is divided in two parts - the first covering the founding of Talawa in 1986 up to 2001, and the second covering the company under its new artistic director, taking us to the present day. Within these two parts, the book provides a historical context for Talawa's performance work, presenting a chronology of the company's performance roots that are shown to begin in Africa, develop in Jamaica and end in the UK. It examines Talawa's history between 1986 and 2001, including a discussion of definitions of black British theatre, Talawa's mission statement the company's residency in the West End. In the subsequent sections, the author moves on to draw out aspects of Talawa's performance work thematically, focusing on their Caribbean, American and English plays. Finally, he highlights Talawa's history, artistic accomplishments, impact and legacy, with a view to where the company might go in the future. Title Page Copyright Page Contents Preface Acknowledgements Chapter 1: Voicing an identity Why Brewster and Talawa? Defining black in Britain Defining voice The sociology of language Language style as audience design and related theories The burden of representation Chapter 2: Post-traumatic slavery disorder Ritual: A survival technique Storytelling Jamaican theatre 1700s–1980s Louise Bennett’s lineage and legacy Lest we forget: Black British theatre and the post-war pioneers By happenstance: Earl Cameron, 1917–2020 A black trap: Cy Grant, 1919–2010 Bottom of the pile: Barry Reckord, 1926–2011 Unequal opportunities: Pearl Connor, 1924–2005 Chapter 3: A stranger in non-paradise Brewster’s beginnings The Barn The making of contemporary black British theatre: Brewster’s role Dark and Light Theatre of Black Women Carib Theatre Black Theatre Cooperative Black Theatre Forum Talawa When the time is right: Talawa’s residency at the Cochrane Chapter 4: The island plays The Black Jacobins The motivation to revolt Oral language of performance: We speak black Non-spoken performance vocabulary: Colonialism and Voodoo The Dragon Can’t Dance A chosen ethnicity Oral language of performance: It ain’t reach yet Non-spoken performance vocabulary: ‘All A We Is One’ – music, calypso and Carnival The Lion Oral language of performance: Speaky spokey Beef, No Chicken Chapter 5: The black south The Love Space Demands Piecing it together: The structure of the work Oral language of performance: Speaking from her heart Non-spoken performance vocabulary:The psyche and dancing the dialogue From the Mississippi Delta Oral language of performance: Delta voices A cappella actresses: The performances Pauline Black Critical reception Flyin’ West We need heritage facts: Research package and the company’s response to it Critical reception My eyewitness account Chapter 6: Stay in your box The British classical genre: No voice for blacks Antony and Cleopatra King Lear Tis Pity She’s a Whore The Importance of Being Earnest A critical reception Contemporary black Victorians White words black mouths O to hell go Othello Audience response Production reviews The language of the text versus the colour of the performers: Even Cassio is black Playing Othello: The actors’ perspective Chapter 7: Don’t tell massa The contribution to black British theatre and identity The end Images Bibliography Index