The 2020s: Urgent Voices in Changing Times

As we enter the third decade of the 21st century, the Royal Court Theatre continues to champion and spotlight the voices of Black writers with an urgency that reflects our rapidly changing political and social landscape.

The decade opened amidst global upheaval, with the COVID-19 pandemic and the resurgence of the Black Lives Matter movement following the murder of George Floyd. These events have profoundly shaped the themes and concerns of Black British theatre in recent years.

Travis Alabanza‘s Sound of the Underground (2023) marked a bold start to the decade, bringing the energy and politics of London’s queer club scene to the Royal Court stage. This part-play, part-cabaret not only celebrated underground drag culture but also raised pressing questions about the value of art and the precarious lives of performers in an increasingly challenging economic climate.

Tatenda Shamiso’s No I.D. (2023) offered a deeply personal exploration of the Black transgender experience in the UK. Through music and storytelling, Shamiso’s one-person show highlighted the bureaucratic hurdles faced by trans individuals and the intersections of race, gender, and immigration status.

Danny Lee Wynter’s Black Superhero (2023) delved into complex issues of sexuality, hero worship, and identity within the Black gay community. The play’s exploration of internalized racism and the search for role models resonated with ongoing discussions about representation and diversity in popular culture.

Sabrina Ali’s Dugsi Dayz (2024) brought a fresh perspective to the Royal Court, exploring the experiences of young Somali Muslim women in contemporary Britain. By blending comedy with poignant cultural commentary, Ali’s play speaks to the ongoing negotiation of identity and belonging for second and third-generation immigrants.

The Royal Court’s commitment to nurturing international voices is evident in its New Plays International 2024 programme. Michaela Spencer‘s Cabin Fever and Jherad Alleyne‘s Scam-Uh-Life, both developed through partnerships with Caribbean institutions, bring vibrant new perspectives to the London stage. These plays, set in Jamaica and Barbados respectively, offer nuanced explorations of economic struggle, aspiration, and cultural identity in a post-colonial context.

Most recently, Tife Kusoro’s G (2024) continues the Royal Court’s tradition of showcasing emerging talent. While details are still emerging, this play promises to address pressing contemporary issues through a fresh, young voice.

These productions reflect the Royal Court’s ongoing commitment to presenting diverse Black experiences and perspectives. In a time of political uncertainty, rising inequality, and ongoing debates about British identity, the theatre’s role in amplifying Black voices is as crucial as ever.