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Black British
Women’s Theatre
Intersectionality, Archives, Aesthetics
Nicola Abram
Black British Women’s Theatre
 Nicola Abram

Black British Women’s

Theatre
Intersectionality, Archives, Aesthetics
Nicola Abram
University of Reading
Reading, UK

ISBN 978-3-030-51458-7    ISBN 978-3-030-51459-4 (eBook)

https://doi.org/10.1007/978-3-030-51459-4

© The Editor(s) (if applicable) and The Author(s) 2020

This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect
to the material contained herein or for any errors or omissions that may have been made.
The publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.

Cover illustration by Ingrid Pollard, depicting Theatre of Black Women’s play ‘Silhouette’
(1983), featuring Bernardine Evaristo and Patricia Hilaire

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
 Acknowledgements

I begin with thanks to the various editors and editorial assistants I’ve had
contact with at Palgrave Macmillan over the years, for seeing this book
through from proposal to print: your clear guidance and good-natured
communications smoothed the process and expertly ensured its comple-
tion. And thanks to the reviewers, especially for encouraging the focus on
archival materials: you truly helped to make this book this book. All errors
that remain are of course my own; I am and will ever be learning.
There would be no book at all without the playwrights and practitio-
ners who welcomed me into their homes and workplaces, gave time and
energy to telephone calls, Skype conversations and e-mail exchanges, and
excavated memories and ephemera: SuAndi OBE, Bernardine Evaristo
MBE, Maureen ‘Talibah’ Hawkins, Patricia St. Hilaire, Marjorie James,
Zindika Kamauesi, Michelle Matherson, June Reid, A-dZiko Simba, Hazel
Williams, and Denise Wong. Your pioneering activities gave vigour to
British culture and society, and your generous permission to reproduce
archival materials gives colour and life to the pages that follow. Thanks to
the performers Cindy Afflick, Paulina Deutsch (nee Graham), and Cassi
Moghan (nee Pool) for kindly allowing the use of photographs in which
they feature, and to the photographers and designers of the images
reproduced within: Karl Bartley, Sonia Boyce, John Clube, Desmond Ip,
Heather Marks, Ingrid Pollard, Simon Richardson, Steve Speller, and the
late Similola Coker (represented by her sister Daphne Towry-Coker).
Thanks, too, to Fiona Young of the Tudor Trust for her help in establishing
communications with the Coker family. Special thanks to Ingrid Pollard
for the cover image.

v
vi ACKNOWLEDGEMENTS

The material record of black British theatre is spread across a number

of archives and institutions, and I’m grateful to their various staff for
cheerfully (and repeatedly) retrieving innumerable items for consultation
and helpfully answering my queries: the British Library, the Live Art
Development Agency, Making Histories Visible (University of Central
Lancashire), Special Collections at Middlesex University, Special
Collections at Goldsmiths, University of London, the Theatre Collection
at the University of Bristol, the Theatre and Performance Collection at the
Victoria and Albert Museum, and Unfinished Histories. Thanks to Diane
Morgan and nitroBEAT for permission to reproduce material from the
Black Theatre Co-operative archive; Joan-Ann Maynard, Alexander du
Toit, and Mark Edmondson at Goldsmiths; Finn Love at LADA; and Jack
Glover Gunn at VAM for arranging the reproduction processes. I’m espe-
cially awed by the initiative and hard work of Susan Croft (Unfinished
Histories, VAM), Len Garrison (Black Cultural Archives), Lubaina Himid
MBE (Making Histories Visible), Kwame Kwei-Armah (Black Plays
Archive), and Alda Terracciano (Future Histories—Black Performance
and Carnival Archive), who personally ensured that this material was pre-
served and is publicly accessible. This book affirms your vision.
I’m grateful to the Arts and Humanities Research Council for funding
the early stages of this project, and to the Department of English Literature
at the University of Reading for funding copyright payments. Many col-
leagues have cheered my research on. Special thanks to David Brauner,
Bryan Cheyette, Nicole King, Steven Matthews, Michelle O’Callaghan,
Peter Stoneley, and Nicola Wilson for your intellectual insights and kind
encouragement, and particular thanks to Mark Nixon and Peter Robinson
for first sparking my interest in archives. The careful advice of Indy
Biddulph and Chris Jones has been most welcome. I am indebted to
Alison Donnell for her guidance, good humour, and generosity, and
thankful, too, to Susheila Nasta and Graham Saunders for your vital
roles in refining this work. As part of the Executive Committee of the
Postcolonial Studies Association, I benefitted from several years of collegi-
ality and shared endeavour, and for the opportunity to present my work in
progress I am grateful to the organisers of many conferences and seminar
series. It has been a particular pleasure to meet those who arrived at this
subject before me and who have made space for others to follow: Mary
Brewer, Lynette Goddard, Deirdre Osborne, Michael Pearce, and Ekua
Ekumah-Asamoah. It is a thrill to pass the invitation on to the students at
 ACKNOWLEDGEMENTS vii

Reading, whose responses to this work are always illuminating and who
have further shaped my thinking and ways of articulating ideas.
Finally, I want to fix in ink my appreciation of friends and family for
their unwavering support during this project and always. Martin, Sandra,
Richard, and Dick, thank you for reminding me that there’s a world
beyond my work; your generosity and belief have truly sustained me. In
this moment of celebration, I fondly remember those we love who are
sadly no longer with us: Marion, Joyce, and Ted.
Nadya Ali, Helen Bailey, Corinne Heaven, Ben Whitham, and David
Yuratich have walked various parts of this intellectual journey with me,
while Lorraine Briffitt, Rebecca Henry, Abigail MacLeod, and Olivia
Thompson have brought both lessons and refuge. For many happy dis-
tractions—and for not asking about the book too often—I’m grateful to
Hannah Adjei, Sonia Betts, Felicity Cross, Jael Damarsin, Jess Del Rio,
Nikkie Foster, Sean and Liz Green, Mireille Haviland, Molly Hodson,
Victoria Ingram, Vicky Parting, Amanda Schmid-Scott, Emma Scott, Lee
and Nett Smith, Michael, Fiona, Matilda and Arthur Shapland, and Gem
and Chris West. This has been a long project, and it’s a joy to have found
a second family along the way: Phil and Gill, Emily and Chris, Becky, Jay,
Lara and Sophie. And finally, Ben Blackledge: your kindness, strength,
playfulness and insight are astonishing. For knowing me and loving me,
and being you, thank you.
In its own way, this book joins the struggle for justice: Black Lives Matter.
 Contents

Introduction: Intersectionality, Archives, Aesthetics  1

Theatre of Black Women 23

Munirah Theatre Company 85

Black Mime Theatre: The Women’s Troop123

Zindika161

SuAndi201

Conclusion: In the Spirit of Sankofa229

Index249

ix
 List of Figures

Introduction: Intersectionality, Archives, Aesthetics

Fig. 1 ‘Vacant’: Advertisement in Black Arts magazine, issue 142,
December 1991/January 1992, p. 41. Magazine clipping 2

Theatre of Black Women

Fig. 1 Theatre of Black Women, Silhouette (1983). Evaristo personal
collection, London. Scene breakdown 34
Fig. 2 Similola Coker, ‘Theatre of Black Women, Silhouette’ (1983).
Evaristo personal collection, London. Production photograph.
(Left to right: Patricia Hilaire, Bernardine Evaristo) 35
Fig. 3 Theatre of Black Women, Pyeyucca (1984). Evaristo personal
collection, London. Programme designed by Ingrid Pollard;
printed at Lenthall Road Workshop 58
Fig. 4 Ingrid Pollard, ‘Theatre of Black Women, Pyeyucca’ (1984).
Evaristo personal collection, London. Production photograph.
(Left-right: Patricia Hilaire, Bernardine Evaristo) 64

Munirah Theatre Company

Fig. 1 Munirah, On the Inside (1986). Simba personal collection,
St. Thomas, Jamaica. Programme. Designed by Anum Iyapo 90
Fig. 2 Munirah, thinkofariver (1987). Simba personal collection,
St. Thomas, Jamaica. Programme. Artwork by Sonia Boyce 93
Fig. 3 Maureen ‘Talibah’ Hawkins, ‘… and this is now!’ (c. 1987).
Hawkins personal collection, London. Typescript with
handwritten annotations 108

xi
xii List of Figures

Fig. 4 Munirah, Our Bodies Are Our Maps (1990). Simba personal
collection, St. Thomas, Jamaica. Programme. Designed by John
Clube112
Fig. 5 Jheni Arboine, ‘Munirah’ (c.1990). Simba personal collection,
St. Thomas, Jamaica. Promotional photograph. (Left to right:
Hazel Williams, A-dZiko Simba, Maureen ‘Talibah’ Hawkins,
Michelle Matherson) 116

Black Mime Theatre: The Women’s Troop

Fig. 1 Black Mime Theatre Women’s Troop, Mothers (1990). Victoria
and Albert Museum, London. Core Collections: Playbills and
Programmes. Flyer. © Victoria and Albert Museum, London 128
Fig. 2 Desmond Ip, ‘Black Mime Theatre Women’s Troop’ (1990).
Victoria and Albert Museum, London. Records of Black Mime
Theatre, Photographs of Mothers, THM/26/5/5. Publicity
photograph. (Left to right: Sky Hunt, Cindy Afflick, Paulina
Graham) © Victoria and Albert Museum, London 130
Fig. 3 Black Mime Theatre Women’s Troop, Drowning (1991). Victoria
and Albert Museum, London. Core Collections: Playbills and
Programmes. Flyer. © Victoria and Albert Museum, London 132
Fig. 4 Simon Richardson, ‘Black Mime Theatre Women’s Troop,
Drowning’ (1991). Victoria and Albert Museum, London.
Records of Black Mime Theatre, Photographs of Drowning,
THM/26/5/7. Production photograph. (Left to right: Tracey
Anderson, Cassi Pool) © Victoria and Albert Museum, London 144
Fig. 5 Steve Speller, ‘Black Mime Theatre Women’s Troop’ (1991).
Victoria and Albert Museum, London. Records of Black Mime
Theatre, Photographs of Drowning, THM/26/5/7. Publicity
photograph. (Left to right: Tracey Anderson, Cassi Pool)
© Victoria and Albert Museum, London 145
Fig. 6 Steve Speller, ‘Black Mime Theatre Women’s Troop’ (1991).
Victoria and Albert Museum, London. Records of Black Mime
Theatre, Photographs of Drowning, THM/26/5/7. Publicity
photograph. (Left to right: Arosemaya Diedrick, Cassi Pool)
© Victoria and Albert Museum, London 146
 List of Figures  xiii

Zindika
Fig. 1 Black Theatre Co-operative, Paper and Stone (1990). Goldsmiths
University of London. Future Histories—Black Performance and
Carnival Archive, Records of Nitro Theatre Company, NTC/
P/T/1/21/2. Flyer 165
Fig. 2 Karl Bartley, ‘Black Theatre Co-operative, Paper and Stone’
(1990). Goldsmiths University of London. Future Histories—
Black Performance and Carnival Archive, Records of Nitro Theatre
Company, NTC/P/T/1/21/4. Publicity photograph. (Left to
right: Catherine Coffey, Susan Lycett, Marcia Rose) 172
Fig. 3 Black Theatre Co-operative, Paper and Stone (1990). Goldsmiths
University of London. Future Histories—Black Performance and
Carnival Archive, Records of Nitro Theatre Company, NTC/
P/T/1/21/5/001. Still from VHS production recording 175

SuAndi
Fig. 1 Black Arts Alliance, Revelations of Black (1987). Making Histories
Visible—Black Archive and Collection, Preston. Flyer 204
Fig. 2 SuAndi, The Story of M (1994). Live Art Development Agency,
London. V0238. Still from VHS production recording 215
Fig. 3 Heather Marks, ‘SuAndi, The Story of M’ (2017). Still from digital
production recording 216

Conclusion: In the Spirit of Sankofa

Fig. 1 Sankofa bird © Reynolds/Fotolia 230
 Introduction: Intersectionality, Archives,
Aesthetics

‘Black Woman’
This clipping (Fig. 1) promoting an unnamed artist serves as a suggestive
starting point for a book on black British women’s theatre. It captures
something of the fragile materiality of such histories: the advertisement
was posted in the now defunct listings magazine Black Arts,1 issues of
which have fortunately been preserved as part of the visionary ‘Unfinished
Histories’ project recording the history of alternative theatre in
1960s–1980s’ Britain, directed by archivist and activist Susan Croft.2 The
stories contained in such ephemera are at real risk of being forgotten
unless active care is taken over preservation, access, and interpretation. In
order to correct this cultural amnesia and secure hitherto hidden aspects
of black women’s theatre as a central part of the nation’s creative history,
this book foregrounds unpublished materials—manuscripts, production
recordings, photographs, stage diagrams, technical plans, funder reports,
company records, and correspondence—sourced from archives of various
kinds, from artists’ personal papers to national collections. There is a
wealth of material there to be explored. Yet, such endeavours must also
confront the sombre reality of already unrecoverable loss—just as the
identity of the self-promoting ‘black woman’ in this clipping is not known.
As well as signalling a need for archival research, the advertisement
hints at the aesthetics that characterise black British women’s theatre: this
is an itinerant creative practice, in search of appropriate platforms and ways
to connect with its audiences, energised by new writing rather than relying

© The Author(s) 2020 1

N. Abram, Black British Women’s Theatre,
https://doi.org/10.1007/978-3-030-51459-4_1
2 N. ABRAM

Fig. 1 ‘Vacant’: Advertisement in Black Arts magazine, issue 142, December

1991/January 1992, p. 41. Magazine clipping

on an established canon, dynamically eliding the formal boundaries

between poetry and drama. This book therefore looks beyond the natural-
istic tradition, valuing theatre that signifies through symbol, juxtaposition,
choreography, and imagery, rather than exposition. Together with its
innovative aesthetics, such theatre remains unflinchingly political: map-
ping the connections between the individual and the collective, contextu-
alising lived experience within a wider cultural milieu. It is at once
profoundly personal and of vital public importance. Such theatre, and this
book, centre the irreducibly complex subject for whom American legal
scholar Kimberlé Crenshaw coined the term ‘intersectionality’ (1989):
‘black woman’.

Intersectionality
As the author of this advertisement does not identify herself, no more can
be known of her or her craft; she passes unseen in the crowds of history.
And yet the terms that title the advertisement do emphatically impose a
name on her, in upper case and bold type: her corporeal characteristics
become her identity. She appears insofar as she is body. There is a paradox
at play here: the black woman is at once overlooked—that is, unseen—and
overlooked, or hypervisible. This condition is well documented in black
feminist theory, recurring in writings from across the years and on both
sides of the Atlantic. Too often in identity-based campaigns for rights, the
black woman has been made invisible. She occupies, as Heidi Safia Mirza
has observed, the cultural blind spot between ‘a racial discourse, where the
subject is male; and a gendered discourse, where the subject is white;
[and] a class discourse, where race has no place’ (Mirza 1997, p. 4). White
women must take responsibility for the effects of our wilful ‘blindness’ in
producing this ‘invisibility’ (Smith 1978, p. 20). Yet, in a patriarchal soci-
ety stratified by white supremacy, the black woman also is seen—by
 INTRODUCTION: INTERSECTIONALITY, ARCHIVES, AESTHETICS 3

simultaneous modes of oppression. She lives what Sara Ahmed calls the
‘violent collisions […] between the racialized and gendered gazes’ (1997,
p. 161); she is, in Moya Bailey’s coinage, uniquely subjected to ‘misogy-
noir’ (2014). If she is seen at all, she is always already ‘overdetermined’
(Spillers 1987, p. 65), twice objectified.
What can theatre offer in response? How can it counter such sedi-
mented oppression? As an embodied art form, drama directly answers to
this corporeal fixation. By controlling the presence of bodies onstage, it
corrects both the problem of objectification and the problem of invisibil-
ity. This makes it an appropriate tool to—to borrow Paul Gilroy’s words—
‘compensat[e] for very specific experiences of unfreedom’ (1993, p. 123).
Black British women have long used performance to reveal and resist
such ‘unfreedom’. The (black, female) performers make themselves visible
to the audience on their own terms: as present in and part of Britain, and
as successful, professional actors. They also assert their subjectivity by
looking back at the audience, taking up what bell hooks calls an ‘opposi-
tional gaze’ (hooks 1992). The mechanics of objectification are thus
reversed, and the audience is brought to account. It is no accident that
many of the practitioners featured in this book literalised this by hosting
post-show discussions, running public workshops, and explicitly framing
their work as educational or consciousness-raising. By combining visual
and verbal modes of representation, theatre invites its audiences both to
look and to listen, and thereby to recognise ourselves in relation to others.
When we do, we are called to new ways of being in the world.
This book focuses on five black British theatre companies and play-
wrights, active from the 1980s through the turn of the millennium, whose
practices creatively contest essentialist ideas of gender and ethnicity.
Though they were not necessarily known to each other, a common idea
emerges in the work of these intersectional artists: a model of identity
through encounter. Theatre and performance are always embodied, of
course, but in the works studied here those bodies function not to guar-
antee a fixed individual identity but as the public site of a subject’s dynamic,
interactional, formation. The dramatic arts are uniquely equipped for this
since performance depends on the relationship between actor and charac-
ter: the performer is identified with the character yet is not identical to her;
the character is other than the performer, yet cannot exist without her.
Theatre wisely teaches us that the subject is not isolated, autonomous, or
pre-existent; rather, she is formed through her interactions with others.
Black British women playwrights and performers have mobilised this
4 N. ABRAM

feature of performance with particularly vivid effects. By complicating the

ways in which actors’ bodies appear onstage—through cast doubling, care-
ful choreography, and audio-visual distortions, amongst other things—
they prompt audiences to think again about how black women experience
and, in turn, re-create the world.
In this book, the term ‘black British’ prioritises those of African and/or
African Caribbean descent who have enduring connections with Britain by
birth or migration. Yet such delineations are never simple: for example,
the Jamaican heritage of Denise Wong, the Artistic Director of Black
Mime Theatre, includes a Chinese grandparent, testament to the histories
of indenture in the Caribbean. At times (in the chapters on Munirah
Theatre Company and SuAndi) the term ‘Black’ is capitalised at the sub-
jects’ request, in line with its contemporaneous usage as a politically inclu-
sive signifier. In the introduction to the 2002 edition of his book There
Ain’t No Black in the Union Jack, originally published in 1987, Paul Gilroy
observed that ‘The symbolic and linguistic system in which political black-
ness made sense was a phenomenon of assertive decolonisation’ (Gilroy
2002, p. xiv). This historic practice of self-identification foregoes specific-
ity to promote solidarity between ethnic groups, registering the shared
experience of being racialised as a minority. That said, this book does not
explicitly attend to the cultural practices of the Asian diaspora in Britain,
which has its own histories and aesthetic traditions and demands its own
analysis.3
Similarly, the focus in this book on women playwrights and performers
is not to deny that male artists also engage in innovative and important
stagings of identity: exemplary among them are Inua Ellams, Ronald
Fraser-Munro, and Mem Morrison, among others. But black masculinity
has its own contexts and complexities, which cannot be given in short-
hand, and this book is a necessarily bounded project that focuses on inter-
secting regimes of oppression, the nexus at which racism and sexism
coincide. Indeed, the earlier chapters in this study find black women form-
ing female-only theatre companies and arts collectives, sometimes in direct
response to or resistance against a dominant male norm. Although there
are certainly productive connections to be made across identity groups, as
other scholars (Goddard 2015; Pearce 2017) have shown, this book is
content to study the connections and developments within the work of a
more specific cohort.
It is something of an irony that although anti-essentialist scholarship
applauds and amplifies creative efforts to question identity categories, it is
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