Kwame Kwei-Armah - Let There Be Love
Playwright and community activist. Words for me that embody Kwame Kwei-Armah. Playwright because, well that’s what he is. Community activist because you would be hard pushed to find a celebrity who is more of a community figure in the truest sense of the word. There are several other words that you could use too, such as actor, broadcaster, musician…and director. The director thing is relatively new, but judging by the response to his latest play Let There be Love, something that he is not too bad at. The play was a smash it when it opened at the Tricycle Theatre at the beginning of the year and is now returning for a limited four-week run. Telling the story of a cantankerous West Indian man and his Polish cleaner and written by Kwei-Armah when he was working in Chicago, this was the play he decided should mark his directorial debut in the UK. Not that by then he was a ‘virgin’ director. He directed his first play Things of Dry Hours by Naomi Wallace in Baltimore. He has also directed a ten-minute play on Broadway. ‘I wanted to learn my trade away from prying eyes,’ he says.
He has had a few months now to reflect on how Let There Be Love was initially received. And as I grab a few minutes to talk to him as he settles in a car off to one of his many broadcasting gigs, he certainly sounds pleased. ‘The play sold out from the first preview to the last night. People were queuing for tickets to be returned so that they could get in. For a playwright that is a wonderful feeling.‘
Why, I ask does he think the play captured the imagination of so many people? ‘It is hard to work out why it has been so popular. ‘he says, ‘I think we had several ingredients for success.’ First he pays tribute to the cast, which includes Joseph Marcell and Sharon Duncan- Brewster. ‘All the actors were wonderful – and they are all back.’ He also believes other elements added to the play’s popularity, ‘I like to think there is a truth to the story. One about first generation immigrants hitting the final laps.’ The added dimension of the Polish experience certainly adds to the narrative. ‘I remember one teacher said to me that the play should be seen by every Polish school student because it could contribute to reducing tensions. So there really are several elements to what has made this successful. I guess the story was just right for the time.
I recall hearing somewhere that the story was based in many ways on Kwei-Armah’s Polish builder. ‘And my Polish cleaner,’ he laughs, ‘I often gave her advice. She’d bring me bills and worry about being cut off. I would say “Nah, you have at least two more letters before you have to pay that. In a way I was teaching her how to be British.’
Kwame Kwei-Armah first came to the nations’ attention as an actor on Casualty, he then showcased his vocal skills on Celebrity Fame Academy and won over a whole new fan-base. But it is his theatre work that he is most proud. Especially the three ‘state of the nation’ plays – including Elmina’s Kitchen- that he wrote for the National Theatre. ‘That’s something I would like on my tombstone.’ He says, I think only half-joking, ‘I want my grandchildren to be able to see their grandfather’s vision of Britain. ‘
Despite being a prolific writer and seemingly always juggling several projects, Kwame has always managed to stay rooted in his community. A regular advocate on a whole range of issues that affect Black people, he is also a regular speaker at conferences and community events. Why I ask, with so much else on, and ultimately so many other ways to make a mark, does he continue this work? ‘Why am I an activist? Because I should be.’ He says simply. ‘There is a stereotype that once we manage to ascend we can sometimes become unreliable. That community then comes second. I believe in service and I believe in community.’ Very aware that I have little more time to quiz him before he turns his attention to his next appointment I ask the rather open-ended question of what he is currently working on. He is reluctant to talk about upcoming projects he says, ‘Because I don’t want to jinx them.’ Then he rattles off several projects he is involved in. They including filmmaking (‘I actually have two or three films in development at the moment.’), writing for the BBC about Walter Tull the first black infantry officer in the British Army and several archival projects. ’I want to record the voices of the Windrush Generation before they pass.’
I thought of another word that can be added to those I listed at the beginning of this piece. Workaholic.
05 August-30 August at Tricycle Theatre Box office: 020 7328 1000
Benji Reid & Process08
It seems that Hip-Hop theatre is all the rage at the moment. From ITV’s Britain’s Got Talent to West End theatre, hip-hop dancers can showcase their talents. Talents that many in the audience would have turned their noses up at not that long ago. Hip-Hop theatre is growing in popularity and more and more young people want to develop their skills.
Timely then that hip-hop theatre pioneer Benji Reid has pulled together some of hip hop’s key innovators for Process08 a ground-breaking festival of courses, master-classes, films and special events. Taking place in August in Manchester the festival will give b-boys, b-girls, hip hop heads and young artists generally the chance to work with some of the worlds most creative hip- hop theatre masters.
Masters like Britain’s Ty, France’s Walid, plus US maestros Will Power and Baba Israel. Even the inspirational duo Kwik Step & Rockafella have agreed to take part. I managed to catch up with Benji – quite possibly one of the hardest working artists out there, to talk about the festival.
A two-week hip-hop festival sound like a lot of work– why would someone so busy take this on?
It’s actually a biennial festival. Breaking Cycles, my physical theatre company organised the first in 2006. I see it as very much a case of me giving back. I am a performer and find the feeding back process very important. I get so inspired by the amazing artistry I see on my travels around the world. I want to share that.
But why a two-week festival?
I remember once I was asked to create a piece of work in two weeks. Two weeks is not long enough to produce a good piece of work! But creating work is a process and in two weeks I think you can start that process. It’s kind of like preparing the ground before putting the seeds in.
You’ve got an amazing line-up, including Kwikstep & Rockafella.
We’re very excited about that. Kwikstep & Rockafella are legendary. They are like the quintessential b-boy/girl duo. Kwik got amazing versatility and inventive choreography – and then there are the legendary head-spins. And Rok has such superbly crafted technique and teaching skills.
Who do you hope to reach through the Festival?
People from across the UK. Young dancers, performers, b-boys and girls…anyone interested in hip hop theatre. We want to equip people with the tools to take their work further.
Hip Hop theatre has moved on so quickly over the last few years. In fact it’s pretty much mainstream now. How do you feel about that?
As one of the original pioneers of hip hop theatre in the UK I can only say it’s great. People have looked at what people like me and Jonzi D were doing and have built on it. People have taken our lead. There is a lot of high (and low) quality work out there. Events like Process08 will help develop quality work.
As a veteran of the scene what advice would you give to someone wanting to learn more and carve out a career in hip hop?
Find out what is going on locally and get involved. Mix with like-minded people who share your dreams and ambitions. Most of all never take no for an answer. I never did even though I faced so many obstacles. But then I was very thick-skinned and I knew I was talented. But I would say to people get out of your bedroom and just do it.
You always seem so busy, what else are you doing at the moment?
I am a director/performer/producer. There are a lot of slashes to what I do. But I need to be all those things. I need the outside eye that it allows me. I need to be an all-rounder to live my dream. I am exhausted though!
Do you think that hip hop theatre can influence those involved in knife and gun crime?
The people carrying g the knives and guns are not theatre goers. But theatre can be a great way of educating and commenting. Theatre can raise a different sort of awareness. And it can chronicle what is happening in our communities in a very different way.
Process08 4th – 16th August 2008
For info visit: Visit: www.breakingcycles.co.uk
To Book:Email: applications@breakingcycles.co.uk
Tel: 0161 237 1655
Theatre Review: Torn by Femi Oguns
Two people fall in love. Two black people fall in love and their families are outraged. This is the seemingly improbable premise of the thoughtful new play by playwright/actor Femi Oguns. The problem you see is that David (beautifully played by Oguns) is a Nigerian, his girlfriend (Kelle Bryan) is Jamaican, and that, for both their families is enough to try and split them up. It’s an ongoing issue, this bigotry in our communities. Some roll their eyes at the mere mention of it – haven’t e got over this yet? What Oguns manages to do here is use humour and beautiful writing to force us to cast an eye over ourselves and the prejudices in our communities. There are many laugh out loud moments in this play. True, most are provided by the ever-brilliant performer Jocelyn Jee Esien – Wil Johnson as the Jamaican father puts in a great and often hilarious too. But that we can laugh at ourselves shows a maturity developing in our communities. We are laughing at the ridiculous stereotypes we have heard, maybe even used ourselves. We are laughing because deep down we know just how silly these prejudices really are.
The issue might be an old one but this refreshing playwright has written some great material. Oguns portrays both Nigerian and Jamaican characters at their fully flawed best.
Showing until August 2 at Arcola Theatre. Box office: 020-7503 1645
Alex Wheatle - MBE
There are some writers who arrive on the scene with a huge splash of publicity, a fancy book cover and not much else. Often they are backed up by a publisher with a huge marketing budget and lots of media contacts. They may be feted by the mainstream and get invited to every literary festival around. Though it is not usually Black writers that experience this kind of treatment, it sometimes is. I’ve seen them over the years, but what I have also noticed is that for many of them as quickly as they appear they disappear. Maybe the book sales didn’t match the hype. Maybe they decided the writing game wasn’t for them. Or maybe, just maybe their writing really wasn’t good enough and when it came to demands for another book they couldn’t come up with the goods.
Then there are the writers who just quietly get on with the job of writing. Even when snubbed by publishers they will simply carry on writing and try to find another one. Often such writers are involved in local community work too. They’ll do the rounds of the schools, prisons and libraries. They’ll slog away, plugging their books and any message they want to get across anywhere they can. I think they are the writers I admire the most.
One such writer is South London’s Alex Wheatle. Awarded an MBE as part of the Queen's Birthday Honours, it is an honour long overdue. His latest book, The Dirty South, deals with the hard-hitting issues of youth violence and drug dealing. I managed to get to speak to him recently about his book, his award and why he thinks he has been overlooked for so long.
So were you surprised to get the MBE?
I think shocked is more the word. I just thought ‘Me..an MBE?’ Then I thought again and said ‘yeah why not me?’ It is great recognition.
Why do you think you were chosen for an award?
I don’t even know who makes these decisions but I would guess it is for the things I write about, my community. I write about how I see things have developed in the black community and South London in particular over the last 30 or 40 years.
In terms of such awards it looks like Black literature is finally getting some great recognition.
True. The children’s writer Malorie Blackman and playwright Roy William’s have just been awarded OBE’s, something that should definitely be applauded. I know that Benjamin Zephaniah turned down an OBE very publicly when it was offered to him. But I think really it is a personal choice. I see my MBE as recognition of me and my subject matter.
Long overdue recognition perhaps?
I don’t want to sound bitter but I am often overlooked. In the last ten years of writing I have probably been invited to just two literary festivals.
Why do you think you have been overlooked by the mainstream?
I write about black people. I write about working class people. The literary elite don’t seem impressed with that at all. It wasn’t always that way though, years ago writing about the working class was celebrated – look at Charles Dickens and what he wrote about.
Will you always write about blacks in South London?
I am motivated to tell stories about black people. That is what I have always done. Yes I always seem to return to South London too but that may change in the future. I must say my latest book had been very well received – I have had more positive feedback than any of my other books.
What are you working on next?
For the last year I have been trying to write a teenage fantasy novel. I think we need to see more black people as heroes. If you look at what is out there where are the black heroes? Malorie Blackman is about the only person that has done anything like that.
I am also working on a sit-com – that’s in its early stages. There is interest in turning my novel Island Songs into a TV series too. There are quite a few things on the go. What I do and I have always done is to keep on knocking on doors. That’s the only way to keep yourself out there.
Labels: author, writer
By the Time you read This...Lola Jaye will be published!
When Lola Jaye decided nearly ten years ago that she wanted to be a published author she had no idea of the highs and lows she would experience along the way. She also had no idea that her first novel would cause so much excitement that it is being billed as ‘THE commercial fiction debut of the year.’
By The Time You Read This is the touching and very original story of Lois Bates, who after the death of her father is handed a manual that he wrote for her. At first she can barely bring herself to read it as the pain of her dad's death is still so raw. Yet soon his advice is guiding her through every stage of her life - from jobs to first loves and relationships. It was the originality of the story that first grabbed me, and I wasn’t ashamed to admit to Lola that at stages her writing had managed to move me to tears. ‘You’re not the first person to admit to that.’ she laughs when we meet. ‘But I am glad you enjoyed it too.’
Why did she choose such potentially depressing subject matter? ‘I remember the idea came to me a while back when I was watching TV and there was this story about terminally ill women who had left video tapes for their children for when they knew they weren’t going to be around. It really got to me. Then I started to imagine if it was a man that was about to die. You don’t often hear of men in those situations. Then I started to imagine a story like that set in a time where there were no dvds or ipods; no cds or anything like that. I literally turned off the TV and wrote about 6,000 words that day.’
For this story the words literally poured out her (within 6 months she had finished the first draft) but she knew that finding a publisher wouldn’t be so easy. ‘I had been trying to get published for quite a while and had lots and lots of rejections. I remember particularly trying to find an agent – it wasn’t easy. I remember going to this writers’ event that was a bit like Pop Idol. You went and talked to a panel and there were people coming out in tears after being told they couldn’t write.’ Fortunately for her she had a better experience and was encouraged to send in her work to an agent when she had finished it. It was still a while though before she had the manuscript that was to get her a publishing deal. ‘Eventually my agent said to me why don’t you go away and write a book for you – something that you want to write. It was after she took this advice that
By The Time You Read This took shape. ‘I started to write something just for me and it really worked.’
The days of the book being just for her are long gone now. As we chat Lola talks of publishing dates for America, Germany, Serbia and Korea. Her excitement is palpable. Her conversation is littered with talk of agents that she has met and events she has been too. Her book launch is planned for two days after we meet and it is clearly a big deal for her. ‘I am really nervous I have to admit. Future plans? I can’t really see past the launch at the moment.’
‘All my life I have wanted to be a writer and getting the book published and getting paid for doing something I love, well it kind of validates it all.’ For now Lola is keeping her day job, she currently works for the NHS as a counsellor for people wanting to quit smoking. But with a major promotional campaign just beginning and book number two already written and planned for publication it is clearly the publishing game that will be occupying much of her time in the future.
Book reading events are already planned in local libraries and prisons and she is particularly excited that she has been invited to speak in schools about her journey to being a published author. ‘You’re a role model now.’ I smile as I turn off my tape recorder. ‘Erm don’t you want to know a bit more about my background?’ she asks sounding like a seasoned professional. Aware of space limitations for this piece I nevertheless switch the recorder back on. And Lola fills me in on her early years. Fostered from a young age she spent her formative years living with a white family. She has though spent ‘the odd year or so’ in Nigeria where her mother lives. There’s much more too, but I think that can keep for another day. I have a feeling that the writer Lola Jaye is going to be around for quite a few years to come.
By The Time You Read This is published by Harper Collins and is on sale now.
Visit Lola's blog to find out more about her journey to be published novelist: http://www.lolajaye.com/blog/
On Whose Terms? Interview with Joan Anim-Addo
It’s billed as one of the most important events for Black British literature and the arts and will bring together writers and artists from Britain and internationally. ‘On Whose Terms?’, a major conference hosted by Goldsmiths, University of London will provide a meeting ground for various groups and individuals interested in black writing.
With a range of speakers and artists including authors Malorie Blackman and Andrea Levy and playwright and actor Kwame Kwei-Armah, this promises to be an extremely thought-provoking event.
Joan Anim-Addo, a poet, publisher, lecturer and champion of Black Women’s writing will be chairing a panel at the conference. Grenadian born, she is currently head of the Caribbean Centre at Goldsmiths, University of London. I spoke to her about her poetry, her literary activism, and why she is pleased to be invited to participate in conference.
Your first collection of poetry was titled Haunted by History, but I know you have published drama, fiction and history too. As a writer how do you think of your self? I think of myself as a poet. If I had more choice I would be writing much more poetry. My latest book of poetry is a collection called Janie Cricketing Lady. I have been writing for a long time – more years than I care to remember! I recall that I started to take myself much more seriously as a writer after I had my family. I found there were so many questions to be answered in life. I have memories of me scribbling notes on the backs of envelopes and then checking myself, I knew I should be taking it all much more seriously. Then I remember giving myself permission and time to write and attend creative writing classes.
What inspired your latest poetry collection Janie Cricketing Lady? It’s from an idea based on my mother who was a keen cricketer as a young woman. Can you imagine that – being a black woman cricketer in the late 1930s and early 1940s? That would have to be someone prepared to think very differently. That independence of spirit, the stance of seeing what was possible is something that has always inspired me.
As a long standing publisher and champion in particular of Black women’s writing, have you noticed much change? If you look at it in terms of the demand to get published then I don’t think there has been a lot of progression for Black women, a lot of women write and want to be published because they want to claim a public voice. There are so many who want access to publishers and that has always been the case. But often publishers come up with the usual explanations about ‘standards’ and how they can’t publish everything.
You have played a leading role in giving black writers a voice through Mango Publishing, how did your involvement begin? I became a key part of Mango Publishing as a cultural literary activist with Caribbean women. I remember I founded the Caribbean Writers Alliance and we would spend a lot of time sitting round my kitchen table discussing and sharing. Because there were people who were finding it difficult to gain access to publication, we started what is now the journal Mango Season. When we started publishing we very much had in mind publishing new writers. We wanted to at least give them a foot on the ladder. But surprisingly many Black writers from abroad applied to be published by us. We published the first collection by Cuban writer Nancy Morejon, a writer of international stature. We also published a collection by Afro-Brazilian women. It showed that there isn’t as much access to publishing in the world as people think.
The conference ‘On Whose Terms’ promises to be a stimulating event for lovers of black literature. How are you involved? I will be chairing a panel which will be asking about the teaching of Black British writing. What really intrigues me is that many of the people on the panel are noticeably people teaching the subject outside of the UK. I find that very interesting, but the bigger question is where are the Universities and teachers of Black British writing here?
You are a teacher, a writer a publisher and much more, do you ever feel burnt out? There are some times when I wish I could just stop and go somewhere very quiet and simply write poetry. I have taught all my life and while I think I have dealt with the best and worst of students I love it when I get excellent post-graduate students to think alongside. I am a part of the Caribbean Research Forum and feel very appreciative of that. Ultimately I am paid to think and feel appreciative that I have that kind of job. It tickles me sometimes when I think of it like that. I am paid to think.
On Whose Terms? Critical negotiations in Black British Literature and the Arts takes place on 13-14 March Info: www.onwhoseterms.org e: onwhoseterms@gold.ac.uk
Bonnie Greer is an award winning playwright, novelist and critic. Born in Chicago, she has lived in Britain since 1986. Her latest play Marilyn and Ella is a musical drama set in the mid-1950s, charting the true story of the friendship between icons of the time: Ella Fitzgerald and Marilyn Monroe. Where did the idea for the play come from?In about 2003 I was working on a novel and I remember one day I had the TV in the background. The Biography Channel was on and they were talking about Marilyn Monroe. In the Eighties, when I lived in New York City I was a member of the Actors Studio Playwright and Directors Unit, I remember the people around me at the time used to talk about the ‘real Marilyn Monroe’ and say she was not like the person we saw on the screen. Now on this TV documentary I was hearing how she helped get Ella Fitzgerald a job at a nightclub in Hollywood that usually wouldn’t allow black people to perform on stage. She was the biggest movie star in the world and she made this kind of stand for Ella Fitzgerald.This got me thinking about Marilyn and I wanted to find out more about her.
What else did you find out about her?That she actually studied drama and took it very seriously from the moment she decided that was what she really wanted to do. I also found out how she helped people who were being harassed during the time of the McCarthy era of American politics. The more that I looked in to her the more I gained respect for her. I believe both she and Ella were ‘prisoners of the blonde’. Marilyn was a red head who died her hair blonde and then couldn’t get away from the image she had created. Ella, because she was not skinny and light skinned often found it hard to get gigs. Both in their own ways were trapped: prisoners of the blonde.
The first incarnation of this was a radio play, did you find it hard to get it performed? Yes, mainly because people didn’t believe it. Theirs was a little known friendship and because it was not well documented some chose not to believe it. Even photographic evidence they thought was doctored. But one particular producer at the BBC really fought my corner and pushed for it to be made.
Though based over here it is clear that you still pay a lot of attention to what is going on in the country of your birth. Have you been following the Obama/Clinton race for the Democratic nomination for the Presidency?I have, and first of all I think it needs to be stressed that this is just the primary stage of the campaign. There is still a long way to go yet. I know that Obama inspires a lot of people, especially black people. Obama is an extra-ordinary human being. Having said that I come from a working class background and I have a working class ethos. My personal problem with Obama is his link with Bupppie culture. I think that in a way negates from the history of the struggle of black people in America. Health care is a huge issue in America, on the issue of affordable health care being made available to everyone, Obama has said he wants time to think about it. Hilary Clinton has said affordable health care should be universal. That says a lot to me. It should be about the person not the colour.
MARILYN AND ELLA showing at Theatre Royal Stratford East
until 15th March 2008
Box Office: 020 8534 0310
