Theatre Show with ‘All-Black Audience’ Aims to Explore Race-Related Issues ‘Free from the White Gaze’ but Faces Criticism for Setting a ‘Dangerous Precedent’
A theatre in east London has sparked controversy by organizing a special event called ‘Black Out’ for the play Tambo & Bones, urging white individuals to refrain from attending. The Theatre Royal Stratford East intends to create a safe and private space for an all-black-identifying audience to delve into race-related issues, free from the white gaze. While the initiative has received support from some quarters, it has also faced accusations of setting a dangerous precedent. This article explores the arguments surrounding the event and sheds light on the divergent perspectives.
The Black Out Event and Controversy:
The Theatre Royal Stratford East is hosting a one-night-only ‘Black Out’ event for the play Tambo & Bones, which delves into 300 years of African American history. The purpose of the event is to provide an exclusive environment for an all-black-identifying audience to experience and discuss the performance without the perceived influence of the white gaze. While the organizers claim that no one is excluded, the promotional materials and messaging have made it clear that white attendees are discouraged from attending the July 5th performance.
Critics argue that the event sets a dangerous precedent by segregating audiences based on race. Bedfordshire Police and Crime Commissioner, Festus Akinbusoye, the UK’s first black PCC, voiced his concerns, asserting that the Black Out concept goes against the spirit of cultural understanding and enrichment. He emphasized the importance of shared experiences across races and cultures for a more cohesive society.
On the other hand, former No 10 race adviser Samuel Kasumu supported Akinbusoye’s stance, while former politician Sir Trevor Phillips defended the event’s legality and concept. Sir Trevor highlighted that the Black Out event does not ban white attendees entirely and that it is one night out of many performances. He expressed interest in witnessing the contrasting reactions of diverse audiences and their engagement with the play’s themes.
Supporters of the Black Out Event:
Matthew Xia, the director of the UK production of Tambo & Bones, emphasized the need for a Black Out performance. He referred to the concept of the white gaze and its impact on black performance, underscoring the importance of creating a space where the complexities of race-related issues can be explored freely. Xia drew attention to similar initiatives in the US and the UK, where private and safe spaces have been created for black theatregoers to engage with nuanced productions.
The Theatre Royal Stratford East echoed these sentiments, stating that the Black Out night aims to foster congregation, celebration, and healing. They pointed out that this initiative, which originated on Broadway, has been embraced by multiple London theatres. The theater’s spokesperson reiterated that the event does not entail a ban on white attendees and emphasized its legality.
The ‘Black Out’ event organized by the Theatre Royal Stratford East for the play Tambo & Bones has ignited a debate about the boundaries of inclusivity and the significance of race-specific spaces. While proponents argue that it provides a unique opportunity for an all-black-identifying audience to engage with race-related issues without the white gaze, critics view it as a concerning precedent that promotes segregation.
As the discussion continues, it is crucial to foster dialogue and understanding among diverse communities. Ultimately, the challenge lies in finding a balance between providing safe spaces for specific groups and fostering an inclusive society where people from different backgrounds can share and appreciate each other’s cultures and stories.
The Theatre Royal Stratford East
The Theatre Royal Stratford East, located in the heart of East London, has a rich history and a vibrant present. Established in 1884, it has been a producing theatre that represents the culturally diverse community it serves. The theatre is committed to telling current, political, and representative stories that reflect the spirit of London.
From 1953 to 1979, the Theatre Royal Stratford East was home to Joan Littlewood’s legendary Theatre Workshop Company. This period marked a significant milestone for the theatre, with acclaimed productions such as “Oh, What a Lovely War!” and “A Taste of Honey.” The company’s work gained international recognition, and it became a platform for many leading actors, writers, and directors, including Meera Syal, Barbara Windsor, and Cynthia Erivo.
Under the artistic direction of Nadia Fall, the Theatre Royal Stratford East continues to present a bold and diverse program. Fall’s tenure began with a revival of “Equus,” which received critical acclaim and a West End transfer. The theatre also collaborated with the English National Opera to engage over 300 young people in a large-scale production of Benjamin Britten’s “Noye’s Fludde.” Fall’s vision encompasses reimagined classics, timely revivals, and groundbreaking new works that resonate with the audience.
The theatre’s history dates back to its inception in 1884 when actor-manager Charles Dillon built Stratford’s first permanent playhouse. The theatre underwent various changes and expansions over the years, with Albert O’Leary Fredericks taking ownership and making significant improvements. Fredericks added two long bars and brought electricity to the theatre, transforming it into a modern venue. The theatre remained operational even during World War I, presenting melodramas and captivating audiences.
In 1945, the Theatre Workshop was formed by a group of actors and artists with a mission to involve artists and audiences in live drama. In 1953, under Joan Littlewood’s direction, the Theatre Workshop took over the Theatre Royal Stratford East, which was in need of repairs and maintenance. The company overcame financial challenges and gained recognition with their productions, including the award-winning “Oh, What a Lovely War!” The theatre narrowly escaped demolition during the 1960s, thanks to Gerry Raffles’ efforts and a Grade II Preservation Order.
Philip Hedley assumed the role of artistic director in 1979, building on Joan Littlewood’s legacy and expanding the theatre’s educational work. During his tenure, the Theatre Royal Stratford East engaged in large-scale co-productions with black and Asian companies, reflecting the diverse cultures of London. The theatre also became known for its fantastical tales and annual pantomimes, focusing on traditional storytelling.
The theatre’s commitment to political and socially relevant work was evident in productions like the political farce trilogy by Patrick Prior and the British premiere of Federico Garcia Lorca’s “The Public,” which defied the ban on promoting homosexuality. The success of the musical “Five Guys Named Moe” in 1990 further cemented the theatre’s reputation. In 1999, the Musical Theatre Initiative was launched to develop and produce new musicals, attracting experienced writers, composers, and music producers.
In 2004, after 25 years as artistic director, Philip Hedley stepped down, and Kerry Michael assumed the role. The theatre continued to thrive under Michael’s leadership, focusing on diverse programming and community engagement.
In October 2017, Nadia Fall took over as the new artistic director, ushering in a new chapter for the Theatre Royal Stratford East. Her first season featured a diverse range of productions, including adaptations, contemporary plays, and collaborations with renowned companies. The theatre’s commitment to excellence and community involvement has garnered critical acclaim and recognition, with productions winning awards and nominations.
