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WORK TITLE: Contemporary Black British Playwrights
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE: 1966
WEBSITE:
CITY:
STATE:
COUNTRY:
NATIONALITY: British
https://pure.royalholloway.ac.uk/portal/en/persons/lynette-goddard(525c97e9-39fc-4c41-8d32-a1698084ef4e).html
RESEARCHER NOTES:
LOC not working, used worldcat for bibs
LC control no.: n 2006077394
Descriptive conventions:
rda
Personal name heading:
Goddard, Lynette, 1966-
Birth date: 1966
Found in: Goddard, Lynette. Staging black feminisms, 2007: CIP t.p.
(Lynette Goddard) data sheet (b. Jan. 24, 2007)
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PERSONAL
Born 1966.
ADDRESS
CAREER
University of London, Royal Holloway, Lecturer in the Department of Drama and Theatre.
WRITINGS
Contributor of articles to periodicals, including Contemporary Theatre Review, Studies in Theatre and Performance, and New Theatre Quarterly.
SIDELIGHTS
Lynette Goddard is a senior lecturer in the Department of Drama and Theatre, Royal Holloway, at the University of London. Her research and teaching focuses on the politics of contemporary black British theatre and performance, including new works by black playwrights and contemporary black productions of canonical plays. Goddard has had several journal articles and book chapters published on contemporary black British playwriting.
Staging Black Feminisms and The Methuen Drama Book of Plays by Black British Writers
In 2007 Goddard published Staging Black Feminisms: Identity, Politics, Performances, which discusses the development and principles of black British women’s plays and performance since the late twentieth century. Using contemporary performance theory to explore key themes, she examines these plays, poetry, performances, and live art works in relation to questions about feminist theater practice. Choosing work that has had a precarious existence after its staging, including black lesbian texts and performances, she reveals diverse, provocative, and energetic movement on the stage.
For the 2013 The Methuen Drama Book of Plays by Black British Writers, Goddard selected and introduced six key plays that have shaped the course of British black theater from the late 1970s until the early 2000s. These plays address identity politics across three generations of black playwriting in Britain, charting the journey from specialist black theater companies to the mainstream, including successful West End works, while providing a cultural and racial barometer for Britain during the last forty years. The six plays are Mustapha Matura’s 1979 Welcome Home Jacko; Jackie Kay’s Chiaroscuro, representing the 1980s; Winsome Pinnock’s Talking in Tongues of the 1990s; Roy Williams’ seminal pub drama Sing Yer Hearts Out for the Lads in the 2000s; Kwame Kwei-Armah’s 2004 National Theatre play Fix Up; and Bola Agbage’s 2007 debut, Gone Too Far!
Modern and Contemporary Black British Drama and Contemporary Black British Playwrights
In 2015 Goddard coedited with Mary Brewer and Deirdre Osborne an anthology of essays in Modern and Contemporary Black British Drama. The collection reviews modern black British playwriting spanning seven decades from the 1950s to the present. Authors mix social and cultural context with critical analyses of key dramatists’ plays and discuss how these dramatists have created an enduring, transformative, and diverse cultural presence.
Also in 2015 Goddard published Contemporary Black British Playwrights: Margins to Mainstream. In the book, she discusses the sociopolitical and theatrical conditions that brought marginal work into the mainstream. “The first decade of the twenty-first century has been described as witnessing a ‘cultural renaissance’ of black British playwriting, demonstrated by an increased visibility at London’s main theatres,” explained a writer on the Royal Holloway, University of London Web site. In Contemporary Black British Playwrights, Goddard concentrates on writers like Kwame Kwei Armah, debbie tucker green, Bola Agbaje, and Roy Williams and analyzes the social issues portrayed in their plays. She also explores how Arts Council funding policies helped to enhance diversity and how their representations provided ways of thinking about black playwriting as a social and political practice that spurs contemporary debate about black experience, race, and racism in national and global identities.
Goddard’s seven main chapters provide intensive readings of the plays, playwrights, and contexts, according to Meenakshi Ponnuswami in Theatre Journal, who added: “Together with a study of productions of these writers’ plays at Tricycle Theatre, these chapters survey a richly diverse range of themes: gender, sexuality, the traumas of violence, functional and dysfunctional families, youth culture, sports, AIDS, war, the legacies of slavery.” Writing in Choice, T.F. DeFrantz commented: “The book includes competent, straightforward renderings of plots and production values, critical responses of mainstream press, [and] audience demographics;” however, according to DeFrantz, Goddard’s writing fails to convey an affective sense of the performances.
BIOCRIT
PERIODICALS
Choice, April, 2016, T.F. DeFrantz, review of Contemporary Black British Playwrights: Margins to Mainstream, p. 1166.
Theatre Journal, December, 2016, Meenakshi Ponnuswami, review of Contemporary Black British Playwrights, p. 695.
ONLINE
Royal Holloway, University of London, https://www.royalholloway.ac.uk/ (April 26, 2017), “Contemporary Black British Playwrights: Margins to Mainstream;” author faculty profile.
Lynette Goddard
Writes: Theatre History and Criticism, Plays: 20th Century
Contributors of: Modern British Playwriting: 2000-2009
Editor(s) of: The Methuen Drama Book of Plays by Black British Writers
Related Books
Media of The Methuen Drama Book of Plays by Black British Writers
The Methuen Drama Book of Plays by Black British Writers
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Dr Lynette Goddard
Reader
Department of Drama, Theatre and Dance
Contemporary British Theatre Research Centre
L.P.Goddard@rhul.ac.uk
Phone: +44 1784 443930
Research interests
My research and teaching is focused in the area of the politics of contemporary black British theatre and performance, including work on new writing by black playwrights and contemporary black productions of canonical plays. I have published a number of articles on black British playwriting, as well as two mongraphs and a co-edited anthology of essays, Modern and Contemporary Black British Drama (London: Palgrave, 2014). My monograph Staging Black Feminisms: Identity, Politics, Performance (Basingstoke: Palgrave, 2007) explored British black women’s plays, poetry, and performance in relation to questions about feminist theatre practice. My most recent monograph Contemporary Black British Playwrights: Margins to Mainstream (London: Palgrave, 2015) examined the mainstream presence of Kwame Kwei Armah, debbie tucker green, Bola Agbaje, and Roy Williams in the early twenty-first century, interrogating how their prominence was enabled by Arts Council funding policies to enhance diversity before thinking about how their representations provide ways of thinking about black playwriting as a social and political practice that intervenes in contemporary debate about black experience, race, and racism in the articulation of national and global identities. My research on black theatre practice also includes exploring debates about race and casting in contemporary black British productions of Euro-American classics and I am continuing my interest in black theatre as a political practice with a comparative study of black history plays in the UK, USA, and British and Francophone Africa and the Caribbean. I selected and introduced the plays for The Methuen Drama Book of Plays By Black British Writers (London: Methuen, 2011), which includes plays dealing with identity politics across three generations of black playwriting in Britain from the late 1970s until the early 2000s.
I am interested in hearing from students in areas relating to race and performance, black theatre, and/or women's theatre.
Teaching
Courses 2016-17: Theatre and Text 2: Contemporary British Black and Asian Theatre; Advanced Option: Race Relations in Theatre, Film and Television; English-Drama Pathway: Nation/Adaptation; Taught Dissertation: Analysing Plays
Other courses include: Shakespeare From Page to Stage; Film, Gender, Race and Sexuality; Producing Women: Feminist Theory and Theatre
Dr Lynette Goddard
Reader
Department of Drama, Theatre and Dance
Contemporary British Theatre Research Centre
L.P.Goddard@rhul.ac.uk
Phone: +44 1784 443930
Research interests
My research and teaching is focused in the area of the politics of contemporary black British theatre and performance, including work on new writing by black playwrights and contemporary black productions of canonical plays. I have published a number of articles on black British playwriting, as well as two mongraphs and a co-edited anthology of essays, Modern and Contemporary Black British Drama (London: Palgrave, 2014). My monograph Staging Black Feminisms: Identity, Politics, Performance (Basingstoke: Palgrave, 2007) explored British black women’s plays, poetry, and performance in relation to questions about feminist theatre practice. My most recent monograph Contemporary Black British Playwrights: Margins to Mainstream (London: Palgrave, 2015) examined the mainstream presence of Kwame Kwei Armah, debbie tucker green, Bola Agbaje, and Roy Williams in the early twenty-first century, interrogating how their prominence was enabled by Arts Council funding policies to enhance diversity before thinking about how their representations provide ways of thinking about black playwriting as a social and political practice that intervenes in contemporary debate about black experience, race, and racism in the articulation of national and global identities. My research on black theatre practice also includes exploring debates about race and casting in contemporary black British productions of Euro-American classics and I am continuing my interest in black theatre as a political practice with a comparative study of black history plays in the UK, USA, and British and Francophone Africa and the Caribbean. I selected and introduced the plays for The Methuen Drama Book of Plays By Black British Writers (London: Methuen, 2011), which includes plays dealing with identity politics across three generations of black playwriting in Britain from the late 1970s until the early 2000s.
I am interested in hearing from students in areas relating to race and performance, black theatre, and/or women's theatre.
Teaching
Courses 2016-17: Theatre and Text 2: Contemporary British Black and Asian Theatre; Advanced Option: Race Relations in Theatre, Film and Television; English-Drama Pathway: Nation/Adaptation; Taught Dissertation: Analysing Plays
Other courses include: Shakespeare From Page to Stage; Film, Gender, Race and Sexuality; Producing Women: Feminist Theory and Theatre
2016
Published
Will we ever have a black Desdemona?: Casting Josette Simon at the Royal Shakespeare Company
Goddard, L. Jul 2016 The Diverse Bard: Shakespeare, Race and Performance in Contemporary Britain. Jarrett-Macauley, D. (ed.). London: Routledge, p. 78-92
Chapter
2015
Published
Contemporary Black British Playwrights: Margins to Mainstream
Goddard, L. 18 Mar 2015 London: Palgrave.
Book
2014
Published
Modern and Contemporary Black British Drama
Goddard, L. (ed.), Brewer, M. F. (ed.) & Osborne, D. (ed.) 25 Nov 2014 Palgrave.
Anthology
Published
'Cultural Diversity, Black British Playwriting'
Goddard, L. 14 Nov 2014 Performance Studies: Key Words, Concepts and Theories. Reynolds, B. (ed.). Basingstoke: Palgrave
Chapter
Published
Playing the Game: (Black) Masculinity, Race and Nation in Roy Williams' Sports Plays
Goddard, L. 2014 Modern and Contemporary Black British Playwrights. Brewer, M., Goddard, L. & Osborne, D. (eds.). Palgrave
Chapter
2013
Published
From Mainstream Theatres to Synergy Theatre Project: Black Men's Participation in 'Urban' Plays in Prison
Goddard, L. Nov 2013 In : Research in Drama Education. 18, 4, p. 332-345
Article
Published
debbie tucker green
Goddard, L. 10 Oct 2013 Modern British Playwriting: 2000-2009: Voices, Documents, New Interpretations. Rebellato, D. (ed.). London: Bloomsbury Methuen Drama, p. 190-212 (Decades of Modern British Playwriting)
Chapter
Published
Acting In/Action: Staging Human Rights in debbie tucker green's Royal Court Plays
Goddard, L. & Fragkou, M. 2013 Contemporary British Theatre: Breaking New Ground. Angelaki, V. (ed.). Basingstoke: Palgrave, p. 145-66
Chapter
2012
Published
Lynette Goddard on the Renaissance of Black British Theatre in the 2000s
Goddard, L. 2012 London : National Theatre Archive
2011
Published
The Methuen Drama Book of Plays by Black British Writers
Goddard, L. (ed.) 25 Feb 2011 London: Methuen.
Book
Published
Introduction
Goddard, L. 2011 Mojisola Adebayo: Plays One. London: Oberon Books
Chapter
Published
'Kwame Kwei-Armah'
Goddard, L. 2011 The Methuen Drama Guide to Contemporary British Playwrights. Sierz, A., Middekke, M. & Schnierer, P. P. (eds.). London: Methuen, p. 323-42
Chapter
2010
Published
"Haply for I am Black": Shifting Race and Gender Dynamics in Talawa’s Othello
Goddard, L. 2010 Shakespeare in Stages: New Theatre Histories. Carson, C. & Dymkowski, C. (eds.). Cambridge: Cambridge University Press, p. 248-263
Chapter
2009
Published
'Death Never Used to Be for the Young': Grieving Teenage Murder in debbie tucker green's random
Goddard, L. 18 Nov 2009 In : Women: A Cultural Review. 20, 3, p. 299-309
Article
2008
Published
Book Review. Philip Kolin, Contemporary African American Women Playwrights: A Casebook
Goddard, L. Nov 2008 In : New Theatre Quarterly. 24, 4, p. 399-400
Book/Film/Article review
Published
'Lynette Goddard in conversation with Mojisola Adebayo'
Goddard, L. 2008 Hidden Gems. Osborne, D. (ed.). London: Oberon Books
Chapter
2007
Published
Staging Black Feminisms: Identity, Politics, Performance
Goddard, L. 1 Mar 2007 Basingstoke: Palgrave.
Book
Published
'"Side Doors and Service Elevators": Racial Constraints for Actresses of Colour'
Goddard, L. 2007 The Cambridge Companion to the Actress. Gale, M. B. & Stokes, J. (eds.). Cambridge: Cambridge University Press, p. 215-32
Chapter
Published
‘Performing Gender, Race and Slave Narratives in Mojisola Adebayo’s Moj of the Antarctic: An African Odyssey.’
Goddard, L. 2007 Theater and Slavery: Ghosts at the Crossroads. Walling, M. (ed.). Middlesex: Border Crossings, p. 120-23
Chapter
Published
'Middle Class Aspirations and Black Women’s Mental Illness in Zindika’s Leonora’s Dance, and Bonnie Greer’s Munda Negra and Dancing on Blackwater'
Goddard, L. 2007 Cool Britannia: British Political Theatre in the 1990s. D'Monte, R. & Saunders, G. (eds.). Basingstoke: Palgrave, p. 96-113
Chapter
2006
Published
Book Review. Dimple Godiwala, Alternatives Within the Mainstream: British Black and Asian Theatres
Goddard, L. 2006 In : Contemporary Theatre Review. 16, 4, p. 513-14
Book/Film/Article review
2005
Published
'Backpages: debbie tucker green'
Goddard, L. 2005 In : Contemporary Theatre Review. 15, 3, p. 376-81
Article
Published
Book Review. Errol G Hill and James V Hatch, A History of African American Theatre,
Goddard, L. 2005 In : New Theatre Quarterly. 21, 2, p. 197
Book/Film/Article review
Published
Book Review. Gabriele Griffin, Contemporary Black and Asian British Women Playwrights
Goddard, L. 2005 In : New Theatre Quarterly. 21, 1, p. 102
Book/Film/Article review
2004
Published
'West Indies vs England in Winsome Pinnock's Migration Narratives'
Goddard, L. Nov 2004 In : Contemporary Theatre Review. 14, 4, p. 23-33
Article
Published
Book Review. Elaine Aston, Feminist Views on the English Stage 1990-2000
Goddard, L. 2004 In : Contemporary Theatre Review. 14, 4, p. 94-5
Book/Film/Article review
Published
Book Review. Roberto Uno with Lucy Mae Pablo Burns, eds. The Color of Theatre,
Goddard, L. 2004 In : Studies in Theatre and Performance. 24, 3, p. 221-2
Book/Film/Article review
2002
Published
Four Entries: 'Black Mime Theatre', 'Denise Wong', 'Black Theatre Co-op' and 'Theatre Venues'
Goddard, L. 2002 Companion to Contemporary Black British Culture. Donnell, A. (ed.). London: Routledge
Chapter
2001
Published
Conference Report. “Common Grounds: Theatre and Interculturalism”
Goddard, L. 2001 In : Research in Drama Education. 6, 1, p. 136-9
Book/Film/Article review
Lynette Goddard is a Senior Lecturer in the Department of Drama and Theatre, Royal Holloway, University of London, UK. As well as several journal articles and book chapters on contemporary black British playwriting, her publications include writing Staging Black Feminisms: Identity, Politics, Performance (Palgrave, 2007), co-editing Modern and Contemporary Black British Drama (Palgrave, 2014), and selecting and introducing The Methuen Drama Book of Plays By Black British Writers (Methuen, 2011).
Contemporary Black British Playwrights
Margins to Mainstream
Authors: Goddard, L.
About this book
About the authors
Reviews
This book examines the socio-political and theatrical conditions that heralded the shift from the margins to the mainstream for black British Writers, through analysis of the social issues portrayed in plays by Kwame Kwei-Armah, debbie tucker green, Roy Williams, and Bola Agbaje.
Goddard, Lynette. Contemporary black British playwrights: margins to mainstream
T.F. DeFrantz
53.8 (Apr. 2016): p1166.
Copyright: COPYRIGHT 2016 American Library Association CHOICE
http://www.ala.org/acrl/choice/about
Goddard, Lynette. Contemporary black British playwrights: margins to mainstream. Palgrave Macmillan, 2015. 255p bibl index afp ISBN 9780230237483 cloth, $90.00
(cc) 53-3397
PR120
2014-38194 CIP
Goddard (Royal Holloway, Univ. of London, UK) explores contemporary black British theater through close analyses of work by Kwame Kwei-Armah, debbie tucker green, Roy Williams, and Bola Agbaje. Bringing to the conversation the work of cultural studies scholars (Paul Gilroy, Kobena Mercer), Goddard explains these plays as "social documents of their era" that offer engagement with contemporary issues that "have a wide political resonance with contemporary black and white audiences." Themes of youth violence and race in sport, legacies of slavery, domestic violence, sexual abuse, women's solidarity, and human rights in Africa and the Caribbean arise in these plays, and thus Goddard's descriptions. The author emphasizes that though playwrights did not intend to offer solutions to urgent social concerns, airing issues onstage reminds audiences of "latent and explicit anxieties and hostilities that inform race relations in the UK." Goddard concludes that each author "stages black experience as 'universal,' and, in the process, foregrounds 'black rights' as 'human rights.'" The book includes competent, straightforward renderings of plots and production values, critical responses of mainstream press, audience demographics, and Goddard's sense of performance notability. Unfortunately, the writing style fails to convey an affective sense of performances, and the author does not include complete production histories or original collaborators. Summing Up: ** Recommended. Lower-division undergraduates through faculty and professionals; general readers.--T. F. DeFrantz, Duke University
Source Citation (MLA 8th Edition)
DeFrantz, T.F. "Goddard, Lynette. Contemporary black British playwrights: margins to mainstream." CHOICE: Current Reviews for Academic Libraries, Apr. 2016, p. 1166. General OneFile, go.galegroup.com/ps/i.do?p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA449661528&it=r&asid=3967198b1058f1118d3b6d1ef112a4e4. Accessed 12 Mar. 2017.
Gale Document Number: GALE|A449661528
From: Theatre Journal
Volume 68, Number 4, December 2016
pp. 695-696 | 10.1353/tj.2016.0131
In lieu of an abstract, here is a brief excerpt of the content:
Reviewed by
Meenakshi Ponnuswami
Contemporary Black British Playwrights: Margins to Mainstream. By Lynette Goddard. Basingstoke, UK: Palgrave Macmillan, 2015; pp. 256.
When Lynette Goddard’s Staging Black Feminisms appeared in 2007, black British theatre lacked a comprehensive scholarly survey. That gap has since been amply filled by studies published during the last five years, including Colin Chambers’s Black and Asian Theatre in Britain: A History (2011), Rodreguez King-Dorset’s Black British Theatre Pioneers (2014), and Goddard’s own coedited 2015 collection, Modern and Contemporary Black British Drama. Published alongside that collection, Goddard’s new monograph moves this scholarship forward by concentrating on the most recent generation of dramatists, including Roy Williams, Kwame Kwei-Armah, Bola Agbaje, and debbie tucker green. This book takes stock of black British theatre at a critical juncture, as it is produced increasingly in mainstream, white-managed venues. Responding to criticisms of the plays’ emphasis on scruffy urban youth, Goddard tackles sensitive issues of race, representation, and cooptation while mounting a spirited defense of this new writing’s aesthetic and social value.
Goddard’s chronicle begins with the meteoric rise of black British playwrights in the first decade of the 2000s, following the steady decline of dedicated black theatres during the 1990s. Eleven new works by black British playwrights were produced by mainstream theatres in 2003, suggesting a “cultural renaissance” was afoot (5). Like other scholars, Goddard notes that a significant catalyst in this process was the Stephen Lawrence murder case, which roused the political consciousness of a generation and galvanized state intervention (Goddard dedicates the book to Lawrence). The Macpherson Report of 1999, which found the Metropolitan Police Force to be “institutionally racist,” launched, like the Scarman Report after the Brixton riots in the early 1980s, a series of state-sponsored diversity initiatives, such as the 2002 Eclipse Theatre Conference and report, which mandated specific reforms designed to bring more black practitioners and audiences to mainstream theatres.
Goddard’s introduction considers at length whether institutionalized cultural diversity eventually “invigorates and empowers the mainstream” (10), compromising the autonomy and integrity of black artists by favoring plays that recycle corrosive stereotypes of black life. According to playwright Arinze Kene’s dispiriting assessment, “[w]e write what is expected of us, and often what’s expected is knife crime stories.” Journalist Lindsay John, too, scathingly denounces millennial black theatre’s “ghetto mentality” as “incoherent street babble and plots which revolve around the clichéd staples of hoodies, guns and drugs” (qtd. on 11–13). Goddard reports that despite initially sharing such concerns, research and analysis prompted a more nuanced, sympathetic understanding of millennial playwrights’ portrayal of youth culture and their commitment to social justice. This underlines the importance of such work for third-generation youths, especially those who are socially vulnerable in ways depicted by the plays. [End Page 695]
Supporting this approach, Goddard’s seven main chapters provide intensive readings of the plays, playwrights, and contexts. Two chapters examine Williams’s plays about youth violence and hyper-masculinity in sports, while the chapter on Kwei-Armah analyzes his emphasis on history and legacy in shaping black social and familial relations. Goddard’s chapter on Agbaje’s realist plays for teenage audiences addresses their cheerier representations of working-class Britons of West African origin. Two chapters on tucker green explore feminist politics and formal experimentation in her depiction of women’s responses to violence, both in the UK and internationally.
Together with a study of productions of these writers’ plays at Tricycle Theatre, these chapters survey a richly diverse range of themes: gender, sexuality, the traumas of violence, functional and dysfunctional families, youth culture, sports, AIDS, war, the legacies of slavery. An important aspect of the new writing is its shift from “African diasporic identity politics” of the 1980s toward the third-generation black British experience of a multicultural, cosmopolitan London: “their sense of identity and belonging, and determination to gain status and respect” (6, 25–26). Goddard usefully references other British work, such as “in-yer-face” theatres of the mid-1990s, suggesting that themes of violence or masculinity are hardly unique to black British theatre or life. However, while emphasizing the Britishness of black...
Dr Lynette Goddard will be talking about black British playwriting as a social and political practice that responds to contemporary social issues in her lecture 'Contemporary Black British Playwrights: Margins to Mainstream' as part of the Society for Theatre Research Annual Lecture Series 2016-17.
The first decade of the twenty-first century has been described as witnessing a 'cultural renaissance' of black British playwriting, demonstrated by an increased visibility at London's main theatres, including the National Theatre, the Royal Court, the Soho Theatre, the Tricycle, and even in the West End. At the forefront of this increased visibility are four key playwrights, Kwame Kwei-Armah, debbie tucker green, Roy Williams, and Bola Agbaje, whose plays arguably exemplify twenty-first century black British playwrights' engagement with topical social issues, which warranted their increased recognition by the mainstream. This talk explores an approach to researching these playwrights’ portrayals of a range of topical themes, such as urban crime and violence, domestic and sexual abuse, immigration and asylum, and global poverty to explore both the critical frameworks for analysis of new black playwriting, and for understanding the socio-political and theatrical conditions that heralded the shift from the margins to the mainstream. It outlines methods for analyzing black British plays that remain mindful of social, political and aesthetic practices.
Lynette Goddard is Reader in Drama and Theatre at Royal Holloway, University of London. Their research focuses on politicised representations of race, gender, and sexuality in contemporary black British playwriting. Their publications in this area include writing Staging Black Feminisms: Identity, Politics, Performance (Palgrave, 2007), Contemporary Black British Playwrights: Margins to Mainstream (Palgrave, 2015) and co-editing Modern and Contemporary Black British Drama (Palgrave, 2015). Their current research is focusing on comparing the politics and impact of black historical playwriting as cultural memory by writers from the UK, USA and British and French Africa and the Caribbean.