Methuen Drama Black British Queer Plays and Practitioners: An Anthology of Afriquia Theatre: Basin; Boy with Beer; Sin Dykes; Bashment; Nine Lives; Burgerz; The High Table; Stars

About the Author Zodwa Nyoni is a Zimbabwean-born playwright and poet based in Leeds, UK. As winner of the Channel 4 Playwright’s Scheme, she was Writer-in-Residence at the West Yorkshire Playhouse in 2014. Her first full-length play, Boi Boi is Dead, was shortlisted for the Susan Smith Blackburn Prize 2014/15. Other theatre credits include: Tangled Roots (2014), Nine Lives (2014), Come To Where I’m From (2013), The Market (2013), Di Daakes’ Part A Di Night (2013), Home Has Died (2012), Why The Drought Returns (2012), The Night Shift (2011) and The Povo Die Till Freedom Comes (2010). She has been the recipient of the following awards: Award for the Arts 2011 (Leeds Black Awards) and the Young Black and Asian Writers Award (The Big Issue in the North's Short Story Competition 2011).Mojisola Adebayo is a playwright, performer, director, producer, workshop facilitator and lecturer. She has a BA in Drama and Theatre Arts, an MA in Physical Theatre and her PhD is entitled Afriquia Theatre: Creating Black Queer Ubuntu Through Performance (Goldsmiths, Royal Holloway and Queen Mary, University of London). Mojisola trained extensively with Augusto Boal and is an international specialist in Theatre of the Oppressed, often working in locations of crisis and conflict. She has worked in theatre, radio and television, on four continents, over the past 25 years, performing in over 50 productions, writing, devising and directing over 30 plays, and leading countless workshops, from Antarctica to Zimbabwe. Her own authored plays include Moj of the Antarctic: An African Odyssey (Lyric Hammersmith and Ovalhouse, London), Muhammad Ali and Me (Ovalhouse, Albany Theatre, London and UK touring), 48 Minutes for Palestine (Ashtar Theatre and international touring), Desert Boy (Albany Theatre, London and UK touring), The Listeners (Pegasus Theatre, Oxford), I Stand Corrected (Artscape, Ovalhouse, London and international touring and The Interrogation of Sandra Bland (Bush Theatre, London).Jacqueline Rudet (aka Magdalene St Luce) is a playwright. She was born in England but spent her early years in Dominica before moving back to Britain. She studied drama at Barking College and began her career as an actress with the alternative theatre companies CAST and Belt and Braces, before forming Imani-Faith, a group founded to present theatre for and by black women. She went on to write for Black Theatre Co-operative, the Royal Court and Croydon Warehouse. Her plays include God’s Second in Command, Take Back What’s Yours, Basin and Money To Live.Lynette Goddard is Senior Lecturer in Drama and Theatre at Royal Holloway, University of London, UK. Product Description A bold play collection representing Lesbian, Gay, Bisexual, Trans, Intersex and Queer (LGBTIQ+) experiences, from Black British perspectives, this anthology contains seven radical plays by Black writers that change the face of theatre in Britain. With an international reach connecting Africa, the Caribbean and the Diaspora, these plays address themes including same-sex love, sex, homophobia, apartheid, migration, and space travel. The collection captures the historical scope and range of Black British LGBTIQ+ theatre, from the 1980s to 2021. Including a range of forms, from monologue to musicals, realist drama to club-performance, readers will journey through the development of Black Queer theatre in Britain. Through a helpful critical introduction, this book provides important socio-political and historical context, highlighting and illuminating key themes in the plays. Each play is preceded by an intergenerational ‘in-conversation’ piece between two Black British LGBTIQ+ artists and writers who will talk about their own work in relation to the play, looking back at the history and on into the future. Through these rare conversations with highly acclaimed award-winning practitioners, readers will also gain an insight into the theatre industry, funding, producing, venues as well as the po