The 1980s: Diversification and the Rise of Black British Voices

The 1980s marked a significant shift in the landscape of Black British drama at the Royal Court, characterised by a diversification of voices and themes, and notably, the emergence of powerful Black women playwrights.

The decade opened with Alfred Fagon’s Four Hundred Pounds (1982), a taut one-act play that used a snooker game as a metaphor to explore race and masculinity. Staged by Foco Novo, it set the tone for a decade that would see Black playwrights grappling with complex issues of identity and social dynamics.

Paulette Randall’s Fishing (1982) marked an early entry in what would become a wave of plays by Black women. This piece, focusing on the friendship between Jean and Ingrid and their experiences with abusive relationships, brought women’s voices to the forefront, challenging audiences with its frank depiction of domestic realities.

Tunde Ikoli’s Sleeping Policemen (1983) shifted the focus to South London, offering a multi-faceted view of Peckham through the eyes of six inhabitants. This play, also staged by Foco Novo, reflected the growing interest in exploring specific Black British urban experiences.

The mid-1980s saw an explosion of work by Black women playwrights. Maria Oshodi’s The S Bend (1984) used the metaphor of plumbing to explore cultural identity through the story of Fola, a second-generation Nigerian woman. Jacqueline Rudet emerged as a significant voice with a trio of plays: Money To Live (1984), which examined the world of stripping and go-go dancing; God’s Second In Command (1985); and Basin (1985), which explored female friendship and self-discovery. These works brought previously unheard stories and perspectives to the Royal Court stage.

Sandra A. Agard’s Women and Sisters (1986) broadened the historical scope, focusing on the anti-slavery campaign and the writings of Sojourner Truth. This play highlighted the intersectionality of race and gender in the struggle for equality, connecting contemporary struggles with historical movements.

The decade closed with two significant works by Winsome Pinnock. A Rock in Water (1989), commissioned by the Royal Court Young People’s Theatre, brought to life the story of Claudia Jones and the origins of the Notting Hill Carnival. A Hero’s Welcome (1989) explored the lives of three young women in the Caribbean in 1947, examining themes of colonialism, progress, and gender expectations.

These plays emerged against a backdrop of significant social and political upheaval. The Brixton riots of 1981 had highlighted ongoing racial tensions, while the increasing visibility of Black British culture in music, fashion, and the arts was reshaping British cultural identity. The plays of this decade reflected these changes, offering nuanced explorations of what it meant to be Black and British in the 1980s.