BEN
(Snaps.) Kate, you’re being preposterous and you know it! Maybe you never thought you’d married a culture as well as myself, but I did! I’ve never been allowed to forget it. Eat these foods, talk about these books and plays, discuss only your politics. And if I’m seen to stray across any perceived cultural boundaries then I’m liable to be warned – by Arts Funding bodies, or Paul Tompkins; even by your own father. Yes Kate, you married a culture as well as a man. What bothers me at this point is my realisation that you expected something else.
…
Don’t feel bad darling, it’s not just you. It seems like everybody thought that because I was kind, good-natured and honest, that somehow translated into me being different from the rest of my race. Almost as though those traits were abnormal for us. That I’d be able to pretend the things that happened thousands of years ago and continue right to this day weren’t happening at all because they didn’t happen to me. That I could carry my schooling and white wife like a free pass into the world of turn a blind eye, I’m alright Jack, we don’t give a fuck. Didn’t they? (Shouts when she doesn’t answer.) Didn’t they?
…
(Still shouting.) …Maybe it’s about time you knew what it felt like to be scared, to have your heart pump and feel the blood running in your veins! Maybe you should learn to feel as alive as the real world does, outside your ivory towers of wine bars, opera and members-only restaurants –
…
(Still shouting.) Maybe you’ll get it then; what it feels like to have someone chastise who you are and what you do! Maybe you’ll start to look around and see all the Black people cast as gun criminals in the news, sex objects or idiots in soaps, mad men or drug addicts in documentaries while our singers and songwriters are reduced to puppets who only get the limelight as long as they pretend it’s not happening! Maybe when you see that you’ll understand that the way you feel when you read that book is the way most of us feel every day of our lives. That disposing of the feeling by fighting against its root cause is the only way the rest of us can live.
…
(Sighs and smiles.) I don’t hate any of you. In fact, I love you all a great deal. It’s the reason I could live as I did for so long and the reason why I can’t take it any more. I’m not prepared to settle for less from any of you Kate. Especially not you.
BEN picks up his speech and book then walks to the door and stops.
You say that you’re not a racist Kate, but you are. Wait, don’t say a word – you are. We see your father every week without fail, but months could go past without us seeing anyone from my family and you don’t even notice. You said it yourself, we’ve never had any Black friends in all the time we’ve known each other and up until recently, you didn’t notice that either. Worst of all though Kate, was the way you reacted to Imani when you finally got close to a real black woman. Like the wife of a plantation owner, scared her husband might seek favour from his slave. I was the whitest Black man you’d ever met, wasn’t I Kate? Your father wouldn’t have it any other way.
…
I love you. I’ll never stop loving you.
He leaves.
From
THE ESTATE
by Oladipo Agboluaje
The Estate by Oladipo Agboluaje was co-produced by Tiata Fahodzi (a company which specialises in African stories), and New Wolsey Theatre in association with the Soho Theatre in London on 11 May 2006, directed by Femi Elufowoju jr. The Estate opened at the New Wolsey Theatre in Ipswich, followed by a national tour, with the following cast: Richard Pepple (Yinka), Wale Ojo (Ekong/Samson), Ayo-Dele Ajana (Abasina), Nick Oshikanlu (Afolabi), Eddie Daniels (Pakimi), Ellen Thomas (Helen), Kwaku Ankomah (Soji), and Yvonne Dodoo (Sola).
The Estate is a family comedy set in contemporary Lagos, Nigeria and was inspired by Chekhov’s classic play The Cherry Orchard. The Estate tells the story of a wealthy patriarch, Chief Adeyemi whose deaths prompts his children to return to Nigeria from the UK and USA in order to fight for his estate.
About the Playwright
British playwright and academic Oladipo Agboluaje, was born in Hackney, east London in 1968. He studied in Britain and Nigeria, completing a Theatre Arts degree at the University of Benin in West Africa and a MA in Literature from London Metropolitan University. Agboluaje entered the professional theatre scene with his debut Early Morning, in 2003. Since then, he has written many stage plays and screenplays including The Estate (2006), Area Boys (2007 Nigerian Film), The Christ of Coldhabour Lane (2007) and The Hounding of David Oluwale (2009). In 2009, Agboluaje won the Alfred Fagon Award for his play Iyale (First Wife), which was also nominated for a Lawrence Olivier Award. Oladipo Agboluaje is an executive member of the African Theatre Association (AfTA) and a member of the Soho Theatre’s Writer’s Attachment programme.
Other published plays by Oladipo Agboluaje include The Christ of Cold Habour Lane, The Hounding of David Oluwale, Iyale (The First Wife), The Estate, Early Morning and The Wish Collector.
Summary (Extract)
Chief Adeyemi’s eldest son YINKA arrives from America without his wife and children, to attend his father’s funeral and to ensure that his step-mother Helen and her ‘bastard’ daughter Sola leave the house without any claim to his father’s inheritance. Yinka despises Helen for breaking up his parent’s marriage and refuses to dress in the uniform Helen has selected for the Adeyemi family to wear at the funeral, bringing shame on the family. After the funeral, the family discover that Chief Adeyemi was bankrupt; Yinka blames his step-mother Helen for asking for too much money.
A drunken Yinka confesses to his blood brother Soji about his marriage breakdown, infidelity and reasons why he should never marry a black woman.
YINKA
(Laughs.) Hey, look at that, Soji giving orders. The world has truly turned upside down.
…
You are right not to marry! Women, they are a curse. Black women, don’t go near them. They will poison you. When they do this (Waves his finger and rolls his head.) run! Run!
…
I must warn all men. Run, guys or they will kill you! (Collapses into the sofa.) I’m the true son of my father! There I am building the American wing of the Adeyemi dynasty. Oh yes, in God’s Own Country. In God’s Own Goddamn Country. My friend! To have family in another man’s land is not good. I love my boys. But they pledge allegiance to the Stars and Stripes. Soon they’ll go off to fight in Iraq. But their women, ho, ho! Marrying African American is the same as marrying African. (Makes the sound of a buzzer.) Wrong! Don’t believe them when they tell you we’re all from the source. They are American, end of story. It’s amazing. So, because a man has a ring on his finger he cannot look at another women, eh?
…
A man cannot have a meaningless fling, just to keep his manhood ticking? Except that his own wife must pull him down… Did we qualify for the World Cup…?
…
…Oh, Joyce! She’s filed a divorce. She is taking everything. The house, the kids, the business. That same Joyce. Behaving as if she is the first African God put on this earth. She meant nothing to me I pleaded with this woman. Twenty years of marriage, burst like a bubble. It’s my fault. Papa warned me: don’t get involved with foreigners. They don’t understand our way. I said, ‘Papa, Joyce is one of us.’ He said ‘You are stupid for thinking so.’ Papa, Papa, Papa, Papa…Always listen to your father. Black man, you are on your own!
From
JOE GUY
by Roy Williams
Joe Guy by Roy Williams was presented by Tiata Fahodzi in association with Soho Theatre and the New Wolsey Theatre. It was first performed at the New Wolsey Theatre in Ipswich, England on 18 October 2007, directed by Femi Elufowoju jr with the following cast: Abdul Salis (Joe Boateng), Mo Sesay (Buddy/Carlton ‘The Blaster’ Thomas/Jude Boateng), Pippa Nixon (Juliet Vail/Lauren Miller), Heather Craney (Monique Christie/Helen Blake), Syan Blake (Naomi Brown), Alexis Rodney (Marcus Pryce), Michael Brogan (Tel Hanson/Sarge) and J
oseph Morgan (Rod Campbell).
Joe Guy tackles the inherit tension between the Black Caribbean and African community in Britain. The play tells the story of Ghanaian footballer Joseph Boeteng who was tormented by British-Caribbean youths when they insulted his African identity, accent and studious nature. Joseph decides to ditch his Ghanaian heritage and reinvent himself as a black urban street-slang-speaking arrogant ‘Joe Guy’. As Joe Guy, his life rapidly changes and brings him into contact with Premier League clubs, one-night stands, increased popularity and media attention. A one-night stand with Lauren has repercussions which effect Joe’s reputation, relationship with his son, and his football career. The play follows Joe over the course of ten years (from age eighteen to twenty-eight) depicting the rise and fall of his football career as he moves further away from the spirited kind-natured man he once was.
About the Playwright
British playwright Roy Williams OBE, was born in Notting Hill to Jamaican parents. At 25 years old Williams graduated with a theatre writing degree from Rose Bruford College and has continued writing ever since. Williams is an award-winning writer renowned for writing plays which present the life experiences of working-class Londoners. Roy is arguably most famous for his play Fallout which was loosely based on the Damilola Taylor murder in November 2000, which he later adapted for television. Williams has written over fifteen plays which have all been produced across England, and has worked at theatres including the National Theatre, Soho Theatre, Royal Court Theatre, Bush Theatre and Theatre Royal Stratford East.
Other published plays by Roy Williams include: Sucker Punch, Days of Significance, Fallout, Sing Yer Heart Out For The Lads, Clubland, The Gift, Lift Off, Starstruck and No Boys Cricket Club.
Summary (Extract)
At eighteen years of age, Ghanaian-born Joseph Boeteng transitions into the black urban slang-speaking ‘Joe Guy’.
JOE GUY
JOE is alone on stage. He faces the audience.
JOE: ‘Yes, Joe, what up blood!’ No –
[He tries again, but struggles to overcome his Ghanaian accent.]
‘Joe, my man, what you say, bruv’ – not bruv, bro, say bro! ‘Joe, my man, wass up, bruv.’ Bro, not bruv! ‘Wass up, blood.’ ‘Blood, man, blood, you get me, seen?’ Yes, yes, Joseph, no, no, Joe, Joe Guy, me name’s Joe Guy. Yes, blood, yes, man, yes! ‘Wass up, blood, blood, blood, blood, blood, blood! Wasss up, blood!’ (Jubilant.) Yes! Oh, yes! ‘Wass up, blood! You awright, yeah, man! You know what I’m sayin’, you get me yeah, gal fine man, she buff and she move her batty like, yeah, man, me safe, you cool, dread, me cool, man, nuff respect to yer, bruv, me down wid yer, you hear me, me down. Watch me fly now, you see! Me look cris, yes! Hey, yungsta, ware you go? You cool? Me cool, man! Oh man, that is heavy, you go ‘low dat! Oh my daze! See how he reach for me, nuff times, you hear what I’m saying, you get me, seen! Kiss me neck back!’
[His once strong Ghanaian accent is now fading.]
‘Move from me wid yer batty hole, Marcus, and yer stink breath, move, step! Is who you looking at? You scoping me? You want try summin? I don’t see no one else here, Marcus, it’s you one, looking at me! ’Bout you eyeballing me? You tink I go ’low dat, you dizzy or what? What do I look like to you, what do I sound like, some booboo big rubber-lips monkey-faced African bin bag? Dat ain’t me no more, nosir! I’m oneyer you, I’m better dan you! I’m the new and improved model. Come now, dread, bring yerself, or is you a pussy? You pussy? I’ll spark you in the fucking face, you nuh! From now until kingdom come, I go mash you up! Then I go sex yer woman, ca’ she looking tit! Go ride her, bareback, then I go dash it, and go laugh in yer face, tell you about yer batty hole! When I call, you best come, get me? Do you get me, Marcus! When I call, you come, that’s the way it is now! That’s the way it’s gonna stay. I’m running things now – you get fresh you get cut. You come reach for me now, I go school you now, you pussy hole, rass clart, boomba hole, batty bwoi! Seen? Aiiiiieeee! You is the African one now. Don’t step up unless you gonna jump!’ (Pleased with himself.) Yes, that’s good.
From
PURE GOLD
by Michael Bhim
Pure Gold by Michael Bhim was first staged at Soho Theatre, in London on 27 September 2007, in a co-production with Talawa Theatre Company. This production was directed by Indhu Rubasingham, Artistic Director of the Tricycle Theatre. The original cast included Clarence Smith (Simon), Golda Rosheuvel (Marsha), Louis Ekoku (Anthony), Leonard Fenton (George), Mark Monero (Paul) and Dermot Kerrigan (Samuel).
Pure Gold explores our obsession with money to validate our popularity, class, wealth and happiness to others. Bhim questions how far people will go to obtain ‘Pure Gold’ asking if money is worth jeopardising the respect you have for yourself and that family members have for you. Pure Gold focuses on lead character Simon whose employment status suddenly changes when he is made redundant from his long-standing job. His cousin offers him an illegal way to make money fast by ferrying illegal immigrants into the country. Family man Simon is faced with a moral dilemma, which could result in him losing the very thing that money cannot buy; his family.
About the Playwright
Michael trained at the Royal Court Theatre on the Advanced Playwriting course in 2004. He has been associated with Plaines Plough Theatre Company, Soho Theatre and the Tricycle Theatre. Michael received a professional production of his first short play Night Moves at the Pleasance Theatre in 2005. In 2006, Bhim won the Alfred Fagon Award for his play Daydreams of Hailey, which led to a year-long writing attachment for Future Perfect at the Plaines Plough Theatre Company. His play Distant Violence, a response to Darfur at the Tricycle Theatre was nominated for the Meyer Whitworth Award in 2007. Michael is currently a member of Talawa Theatre’s writing group. Pure Gold was Bhim’s first full-length play to be professionally staged.
Other published play by Michael Bhim include: Distant Violence.
Summary (Extract)
Husband and father of one, SIMON, has recently lost his job as a bus driver, after a white member of the public made an official complaint about him. Although he was unfairly dismissed from work, Simon is too proud to fight for a job when his employers have no respect for him. Simon struggles to find work to support his family, his wife Marsha has been forced to give up her studies to become the breadwinner of the family and their son Anthony is looking forward to receiving the piano his dad promised him for his birthday. Simon is full of guilt and frustration which can only be resolved by one thing, ‘Pure Gold’.
SIMON
(Shouting.) I can’t get what I want! Don’t you get it!! (Simultaneously in a fluster he pushes the chair back and stands by the window.)
Pause.
…
(He looks out of the window.) I married a woman who’s happy to dream. To sit in the dark and read shitty magazines about other people’s lives… And when it comes to really living…
Long pause.
…where’s all the people saying that London’s such a great city? I’m standing here, looking out...it’s like an overripe fruit. You want a better life, you got no choice but to come here into this ghetto, the road’s falling apart, they never fix the water pipes… And everyway you turn, you can feel that noose, turning tighter around your neck, and loan sharks, just waiting, holding their hands open, pumping their filth through the TV, knowing that you’re falling straight into their hands cos you can’t survive and pay for a house, and a kid, and good things on this shit… And just down the road they wanna open up a great big casino, just to mess around with us, and have our last hopes resting on a gamble...a bet. (Pause.)
Them people up there, them people up in the government, they don’t care if you’re falling. They just make the way clear so you fall deeper and deeper. (Pause.) Everything Paul says is right! One day, we’ll all be pushed out to all the smallest areas and into the smallest houses. (Turning to Marsha.) And most of my friends I grew up with are so fucked off at being ignored. I can understand why they’v
e all gone with the BNP cos they’re the only ones offering something different… And they come to me and they say, it’s time to get tough cos no one else’s listening! But what about me? Cos if I’m English, if I’m born here, I have every right to live out my ambitions. I want that chance, I want it! Instead of being a dog, instead of working to try put scrapes of shit in my gut. We work so hard, backs get bent like rusted iron. And I tell you and you don’t give a shit! (Pause. He looks back outside. Suddenly shouting.) What happened to you people! What happened!
Note:
Ellipses indicate that lines of the play have been omitted to fit the text into a monologue format. Square brackets are used to denote information in stage directions that may or may not be relevant to the actor in an audition/showcase context.
Publications
Moon on a Rainbow Shawl by Errol John. Faber and Faber. ISBN 978-0-57129-010-9
For the Reckord: A Collection of Three Plays by Barry Reckord: Flesh to a Tiger, Skyvers, White Witch by Barry Reckord. Edited by Yvonne Brewster. Oberon Books. ISBN 978-1-84943-053-1
Old Story Time and Smile Orange by Trevor Rhone.
Longman Caribbean Writers Series. ISBN 978-0-58278-633-2
Matura Six Plays: As Time Goes By, Play Mas, Welcome Home Jacko, Nice and Meetings. Introduced by the Author. Methuen Drama. ISBN 0-413-66070-2
Michael Abbensetts: Four Plays. Sweet Talk, Alterations, In The Mood, El Dorado. Introduced by Roland Rees. Oberon Books. ISBN 1-84002-179-9
Fagon Plays: 11 Josephine House, Death of a Blackman, Lonely Cowboy by Alfred Fagon. Introduced by Roland Rees. Oberon Books.
ISBN 978-1-84002-137-0
Remembrance and Pantomime by Derek Walcott. Farrar, Straus and Giroux.
ISBN 0-374-51569-7
Black Plays 3. Boy With Beer by Paul Boakye, Munda Negra by Bonnie Greer, Scrape off the Black by Tunde Ikoli, Talking in Tongues by Winsome Pinnock, A Jamaican Airman Foresees his Death by Fred D’Aguiar. Selected and Introduced by
The Oberon Book of Monologues for Black Actors, Monologues for Men, Volume 1 Page 8