Boakye has written for the stage, radio, film, the internet, academia and magazines. He has won several awards for his plays, namely the UK Student Playscript in 1986 for his first play Jacob’s Ladder and a BBC Radio Drama Young Playwright’s Award for Hair in 1991.
Other plays include: No Mean Streets (1993) and Wicked Games (1997).
Summary (Extract)
DONOVAN’s, (a twenty-one-year-old Black British-Caribbean man), girlfriend has aborted their baby due to contracting the AIDS virus. Donovan reveals to Karl that he may be HIV-positive, Karl comforts him. For the first time in the play, Donovan talks openly about his homosexuality and, more importantly, his feelings for Karl.
Donovan
I’m like that, though, you know. You say it’s cos I don’t give. I used to give to people, you know. I used to give all the time to people. You ask my mum. But the more I give the more people want to take. Take, take, take, that’s all people do. And then I don’t wanna give, cos I don’t wanna feel, and I don’t wanna feel cos I don’t wanna get hurt. Candy hurt me. Candy my…we were gonna get married, man. It’s so stupid. D’you know she slept with my brother. My big ole fat ugly brother. If he was the last man in the world I’d rather shag a sheep. She slept with him to hurt me. I s’pose she’d say she wasn’t getting enough. Trevor hurt me. Trevor was the first man I met. Trevor is pathetic! That’s one of your words, ennit? Do you know he’ll swear to God he screwed me. I overheard him on the phone one night showing off to his friend. I said, ‘Trevor, you’ve never screwed me!’ He said ‘Yes, I have!’ I said, ‘When? Where was I?’ D’you know what I mean? He’s so stupid! I met Nathan right after Trevor. Nathan was quite nice at first. Then he started to want to treat me like a woman. I wasn’t having none a that! I met Susan in Safeways. I thought, I ain’t having any luck with men. Susan was really good in bed. ‘You don’t think I’m a slag, do you, Donovan? I’m not a slag, you know. I’m just really really attracted to you!’ Susan didn’t hurt me. I hurt Susan. She needs love, you know. I didn’t mean to hurt her. I wanned to have a son. That’s what it was. It was mainly to have a kid. How could I love Susan when all the time I was attracted to men? That’ll only breed anger and suspicion, ennit? And anyway, here I am now with you – another man – and feeling good about it for the first time in my life. I ain’t making no promises to you, Karl. But just to be with you, you know. Talking to another black man. Someone who can listen without passing judgement. You make me feel so good.
From
BLACKTA
by Nathaniel Martello-White
Blackta premiered at the Young Vic Theatre in London on 26 October 2012, directed by David Lan (Artistic Director of the Young Vic), with the following cast: Anthony Walsh (Brown), Javone Prince (Dull Brown), Daniel Francis (Black), Howard Charles (Yellow), Leo Wringer (Older Black) and Michael Oku (Younger Black).
Blackta explores the lack of roles for Black British actors in London. The play takes place in a surreal audition room as six black actors of varying complexions all compete for their big break, ‘the greenest of green light’. As the play unfolds, the competitiveness between the men is pushed to the limit which ultimately leads to conflict, insecurity and depression.
About the Playwright
British actor-turned-writer Nathaniel Martello-White was born in London and trained at RADA in London. Martello-White is a very talented actor, best known for his performance in Brother Size by Tarell Alvin McCraney, Joe Turner’s Come and Gone by August Wilson and Oxford Street at the Royal Court Theatre. Blackta is Nathaniel’s first stage play.
Summary (Extract)
BROWN is described in the play as ‘a radical’. He believes that he has created ‘the thing’, an alternative approach to achieving success. At this point in the play, Black feels beaten by the audition process; he has not succeeded in getting any green lights. Brown attempts to get Black to see the bigger picture.
BROWN
BROWN stands making coffee. BLACK sits dishevelled and covered in a blanket.
You see…that’s been your problem…from the start… everywhere you go, you make enemies, an’ I think, well you’re intelligent, articulate, why the fuck can’t this guy take a break? You know? Why doesn’t he get, that if history has taught us anything, it’s that great men, always had a team of people who respected them, men who were so inspired by this great man, that when they woke from slumber, they would think – how would black brush his teeth? What does black eat for breakfast? Man, how is black? Does he need anything? Man, I wish I waz like black, I wish I waz black, I hope he’s ok… Then all of a sudden, you got all this positivity, being pumped into the universe, like a protective force field, even God thinks – I want this guy to do well! Let me give him what he needs to achieve his dream, a good woman, good luck, good health, I mean black man - come on...that’s how you make it. That’s how you get the greenest of ever green lights – every time! Do you take sugar in your tea?
…
Right, you see, you and yellow have the same problem, you’re like these two big grunting ogres, who trudge about the place, expecting respect, now that’s not how you get respect…you know that! I mean you earn respect man...take the three of us, you me and yellow…between the three of us, the things we’ve done – we’re powerful man, damn look all the things we’ve done. Now, I’m not saying we should become one! I’m not saying we should mix, brown, black and yellow. I’m just saying that, all the while we’re waiting for them, them Oxford, Cambridge motherfuckers to huddle together – to huddle together and in between mocking us, decide which shade of black, is next in line, if any? Now you wanna live like that? That’s why you’re depressed man! Sitting in limbo – still waiting for the white man, to say, ‘you boy are head nigga in charge!’ Fuck that man, fuck that, fuck thaaaat! I’m building a thing! So powerful! Made up of every shade of black, a self running, independent thing, for us, 4 us, run by me, driven by me – an army! An army, that will once and for all, free us from the white take…on black. No more! No more fucking green light man, no more black cattle, no more black sheep, herds of sheep man, herds of white sheep! Wid black sheppards!
From
BROTHER TO BROTHER
by Michael McMillan
Brother to Brother was written and directed by Michael McMillan and premiered at The Green Room, Manchester in 1996. It was performed by Ekundayo (Purple), Benji Reid (Red) and Michael Mannash-Daniels (Blue).
Michael McMillan gained inspiration from the book Brother to Brother: New Writing by Black Gay Men and personal experiences from the cast as well as his own life. Brother to Brother focuses on identity, love and relationships from a black male perspective. The play is a tapestry of many different stories which overlap, complement and respond to each other to explore themes of masculinity and love. Brother to Brother takes an honest look at taboo experiences, which are rarely discussed in our community in a refreshing and unique way.
About the Playwright
Michael McMillan is a playwright, artist, curator and scholar, arguably most famous for his critically acclaimed installation entitled ‘The West Indian Front Room’, which was held at the Geffrye Museum; and his play Master Juba (2006) which was based on the real-life story of William Henry Lane.
McMillan was born in 1962, in High Wycombe, of Vincentian parents. He gained his degree in Sociology with African and Asian Studies at Sussex University and then pursued a MA in Independent Film and Video from Central Saint Martins School of Art. Michael was awarded the first practice-based Arts Doctorate from Middlesex University. He began his writing career in 1978 with his play The School Leaver which was performed as part of the Young Writer’s Festival at the Royal Court. Since then, Michael’s work has been produced by the BBC, Channel 4, Talawa Theatre Company, Oval House, Radio 4 and Double Edge Theatre, to name but a few.
Other published plays by Michael McMillan include: On Duty and School Leaver.
Summary (Extract)
This extract is taken from the s
cene entitled ‘Are you my father?’. PURPLE is a black man with two biological white parents. Purple mimes polishing a black shoe (which symbolises his conflict with being black) at the same time as impersonating his white father who lacks any understanding of black heritage, culture or sympathy towards the racism his child experiences from the police.
PURPLE
Purple!
Purple!
Purple I’m calling you for Christ sake!
See that,
well don’t look at me,
look at the fucking shoe.
Can you see your face in that?
I want you to finish these ones for me.
Let him who is without sin cast the first?…
Good.
A rolling stone gathers no?
Never throw stones in a glass?…
Correct.
There’s no point in crying over spilt?…
Right.
Remember that time I took you to Ireland
and we were walking through Tamore
and you started laughing at that tramp
and I slapped you
(Sound of a slap on the back of the head.)
You on the back of the head
and I walked over to him
Remember that?
And I said one word to him.
And I said Shakespeare
and he started reciting and reciting and reciting,
a passage from Othello
…a black ram tupping a white ewe…
Remember that?
Taught you not to laugh at tramps again, didn’t it?
He was an actor,
his wife left him
and his family went under,
but he was a great man that.
Which reminds me.
Did you see that?
(Miming taking out record albums from a box.)
That’s Max Bygraves.
Max Bygraves goes here,
in front of Victor Sylvester and his Orchestra, okay
Behind that, is Peggy Lee
and a bit towards the back,
is some of your old Stringray albums,
which you don’t seem to play anymore.
I don’t know why.
That’s how they look
and how I want them kept.
Purple, if I have to tell you once,
I’ll tell you again and again,
until you get it into
your thick head,
that –
I have a morbid fear of disorder!
It’s things like that,
It’s people like you
that makes me have to take my Valium.
Every morning
and every night.
It’s people like the man at the post office,
who always want to stand on my corn.
Right there, (Points to his toe.)
to get himself in front of the fucking queue,
when we’ve all been standing there for hours.
It’s your brother coming in,
telling his lying stories,
about the police.
Picking him up,
Beating him up,
asking him questions.
He must have been doing something wrong,
you don’t just walk along the streets
and get picked up by the police for no reason Purple.
And don’t try and contradict me,
when I’m talking to you.
If my dad were here,
he’d be proud of that.
(Displays his polished hand as the shoe.)
Not proud of me Purple, are you?
Are you proud of your dad?
No!
From
THE WESTBRIDGE
by Rachel De-lahay
Westbridge by Rachel De-lahay was first professionally performed at the Bussey Building, Peckham Rye as part of the Theatre Local season on 3 November 2011. The play later transferred to the Royal Court Theatre in London on 25 November 2011. Both productions were directed by Clint Dyer and performed by Ryan Calais Cameron (Andre), Chetna Panya (Soriya), Jo Martin (Audrey), Ray Panthaki (Ibi), Paul Bhattacharjee (Saghir), Fraser Ayres (Marcus), Daisy Lewis (Georgina), Shavani Seth (Sara), Samuel Folay (Boy), and Adlyn Ross (Old Lady).
Rachel De-lahay’s first play Westbridge explores the racial tensions between the Black and Asian communities in Britain. The play is set on a council estate in Battersea, south London, in a place where both cultures live as neighbours, lovers and childhood friends. When a black boy is accused of raping a fourteen-year-old Asian girl, the estate community is divided, old prejudiced attitudes resurface, causing animosity and a street riot. The pressure on the community is demonstrated through the relationship of interracial couple, Asian Soriya and Black Marcus, who are both mixed-raced, find their once harmonious relationship pushed to the limit.
About the Playwright
Rachel De-lahay was born in Handsworth in the West Midlands, England but now lives in London. Rachel has written for the stage and for radio. Rachel De-lahay was one of the ten writers selected for the Writersroom 10 scheme to support emerging theatre writers. Her play, LockSmiths was broadcast on Radio 3’s The Verb on Friday 11 May 2012. Westbridge (formerly SW11) and Sucker Punch by Roy Williams were joint winners of the Alfred Fagon Award for ‘Best Black Playwright of the Year’ in 2010. This was followed by a rehearsed staged reading of both plays, directed by Simeilia Hodge-Dallaway at the Cottlesloe Theatre at the National Theatre.
Summary (Extract)
ANDRE, a sixteen-year-old Black British boy, has been suspected of raping a fourteen-year-old Asian girl resulting in him being thrown out of his mother’s house and ostracised by the community. Although Soriya’s boyfriend Marcus (mixed-race, white-African) is convinced that their childhood friend Andre did not commit the crime, Soriya (mixed-race, white-Asian) is not so sure, and against Marcus’ wishes, she chooses to confront him. Shocked by Soriya’s accusation, Andre challenges the prejudiced attitudes towards black men in the Aisna community, forcing Soriya to take a look at her own.
ANDRE
Shut up man! Yes they do. They hear a little something and retell it to suit their needs. ’Cause if an Asian girl gets raped by a young black boy, or worse, boys, then all Indian people round here have ammunition to say what they really think about their black neighbours! They can say they hate the way man like me smoke weeds on street corner, not thinking about the fact I ain’t causing no harm to no one…
…
That little blonde thing upstairs has proper rubbed off on you. And it’s vice versa! Don’t get it twisted. You think black women round here, hard-working black women want to see one of the few sharp, intelligent, and I’ll ra say it, handsome, black men shacked up with a Paki?
…
Ah. Did that sting? Don’t pretend you haven’t clocked on to that any ways. They would all love to see you married off to some distant cousin from back home. Then they’d be happy for you.
…
Ah. My bad. You want entertainment. Shame, ’cause I only deal with facts, like Indian girls like cock same as everyone else! Black cock even. But then you already know that, don’t you? Yet when I say it, you’re thinking even more I did it, aren’t you? How about if I put my hood back up, like how I know you love it. Does that fuck with your head even more? Are you now certain I did it? How about if I step towards you in a way and walk just standardly how black guys walk? Now what you thinking?
…
You so think you’re a part of this here world. And yet you wanna make those sorts of comments. And you think making them with a black man on your arm makes it OK? You can’t be racist, can you, if you’re fucking him at night? He ain’t even black sweetheart. You need to realise. One baby with you and that gene’s gone!
From
STATEMENT OF REGRET
by Kwame Kwei-Armah
Statement of Regret by Kwame Kwei-Armah OBE premiered at the Cottes
loe Theatre at the National Theatre, London on 14 November 2007. Directed by Jeremy Herrin, it included the following cast: Javone Prince (Kwaku Mackenzie Junior), Don Warrington (Kwaku Mackenzie), Colin McFarlane (Michael Akinbola), Chu Omambala (Idrissa Adebayo), Angel Coulby (Issi), Ellen Thomas (Lola Mackenzie), Trevor Laird (Val), Clifford Samuel (Adrian Mackenzie), and Oscar James (Soby).
Statement of Regret was broadcast on BBC Radio 4’s The Saturday Play programme. The television version won a BAFTA in 2005.
Kwame was inspired to name his play Statement of Regret and explore the theme of reparation for the slave trade, after reading an article with the headline Tony Blair’s ‘STATEMENT OF REGRET’ in The New Nation newspaper in 2006.
Statement of Regret centres on the relationship between the Black Caribbean and African to explore the subject of reparation for slavery. Set in London at the Institute of Black Policy Research (IBPR) think-tank, founder of the company Kwaku Mackenzie, of West Indian origin, struggles to hold the business together after the death of his father. Consumed with grief, guilt and alcohol, Kwaku becomes forgetful and disorganised, causing the company’s finance to suffer, hardly able to afford paying the staff members. To make matters worse he has become obsessed about the idea of fighting for reparation for the slave trade and creates a racial divide within the IBPR office and the wider society when he announces on television that reparation should be given to the West Indians, and not Africans. Despite pleas from family members and work colleagues, Kwaku has no intention of backing down, putting the reputation of the think-tank and staff members at risk. His children are forced to make the heart-breaking decision of whether to admit him to a mental home.
About the Playwright
Kwame Kwei-Armah OBE was born in London to Grenadian parents. Kwame Kwei-Armah is an award-winning playwright, actor, and broadcaster, who has made a significant contribution to the Black British Play canon throughout the 1990s and 2000s. His writing breakthrough came with his most notable play Elmina’s Kitchen, which enabled him to become the first Black Briton to have a play produced in London’s West End. Elimina’s Kitchen won the Evening Standard Award for most promising play and was also nominated for an Olivier Award for best new play. Since then, Kwame Kwei-Armah has continued to write plays which tackle issues relating to the Black African Caribbean community, and which are constantly revived across the globe. In 2011, Kwame was appointed the Artistic Director of Center Stage Theatre in Baltimore, USA.
The Oberon Book of Monologues for Black Actors, Monologues for Men, Volume 1 Page 5