Talawa Theatre Company have been championing Black artists in theatre, and reflecting Black experiences through their work, since 1986. This year they’re presenting Black Joy Season, an initiative which seeks to connect and nurture Black communities around the country. At its heart is Play On!, a stylish retelling of Twelfth Night, with music inspired by Duke Ellington and New York’s Cotton Club. Talawa’s artistic director, Michael Buffong, talks to What’s On about the project... 

What’s your earliest memory of a theatre experience, Michael?
I think maybe a pivotal theatre experience was when I was about 17 or 18 and I went to see a youth theatre show at Theatre Royal Stratford East. That was when I decided: That’s what I want to do. I want to be a part of those people, on that stage, or the people making the theatre - whatever it is, I want to do that.

Is that what steered you towards a career in the arts?
Not consciously, because I wasn’t aware that that was something you could do… It wasn’t until I saw that youth theatre show that I thought ‘Oh my goodness, you can do this! How do I do that?’ I think maybe like most young people, you kind of fantasise about being an actor - it generally tends to be movie based or TV based, but the show I saw was happening in front of my eyes, and they were the same age as me, and they spoke like me, looked like me, they sang, they were funny and they could make you cry, all at the same time. I thought ‘Yeah, I want to do that; that’s what I want to do.’

Can you explain the ethos behind Talawa Theatre Company? 
Talawa was set up in 1986 by three very strong Black women: Yvonne Brewster, Carmen Munroe and Mona Hammond. And also Inigo Espejel. The reason for it coming into existence back then was that there was a real belief that Black actors actually couldn’t be in the lead roles and couldn’t do the classics - they couldn’t do Shakespeare, they couldn’t do classic comedies like Oscar Wilde. I think that the ethos behind the company was to prove that that was very much a lie.
There is a need to be in control of telling our own stories as Black artists absolutely, rather than it being decided for you what stories you can tell. I think one of the drivers for Talawa is to tell our own stories from our own perspective, and that means a wide spectrum of experiences… Talawa exists to tell a plethora of stories from the Black perspective. 

What’s the thing you’re proudest of during your time as the company’s artistic director? 
The thing I’m really, really proud of, having been artistic director for the past 12 years, is actually the ecosystem we’ve built within the company, for artists. I think we have a really strong pipeline within the company for writers or directors; we’re definitely looking at providing something similar for producers as well. The scenario would be, for instance, as a writer you can send your play into Talawa, to our free script-reading service; that play would be read, and you’d get a report; if it’s really good, it gets a second report, and if it shows real promise, someone might think ‘Maybe we should think of this for our new writing festival.’ Our writing festival is an opportunity to platform a lot of Black artists.

What was behind your decision to select this particular play?
Julie Clare, who is a commercial producer, sought me out, said ‘I think I’ve got something you might like,’ and sent me the script for Play On!, which I hadn’t heard of until that time. 
Play On! is essentially a take on Twelfth Night. It’s set in very early 1940s New York, in Harlem at the Cotton Club. It’s the story of a young woman called Viola who wants to study songwriting with the Duke, who runs the Cotton Club. The Duke, we are told, doesn’t teach women, so she disguises herself as a young man and gets an introduction to the Duke to show her songs. The Duke is in love with the diva of the Cotton Club, and sends this young man with his songs off to woo her... and, of course, she falls instantly in love with Vy in disguise. It’s a story of unrequited love and mistaken identity.

The cast have to be multi-talented, to embody virtuoso jazz musicians. What was the auditioning process like?
First up, this cast is insane - the amount of talent… I have seen some talented people, and this company is off the scale, seriously. They came in, they auditioned, and I thought ‘I wish I could have you all!’ It was a wonderful process, and on one level very humbling, just to be surrounded by so much talent. The person who’s going to play Lady Liv, the diva, is absolutely incredible, and our lead woman, Viola. They are amazing - you just have to wait and see! I can’t tell you with words what they’re like - I was blown away, and that was just the audition!

Play On! is part of your Black Joy Season. What else will be happening?
It’s an absolute first - it’s one of the biggest projects we’ve undertaken. The Black Joy Season is us linking up with Black regional hubs throughout the country; so we’re linking up with artists in the Midlands, in Liverpool, Bristol… 
In the centre is Play On!, which is the musical, and round it we’ve got a new studio commission, which is music based, which will then go on tour later in the year and into next year. There are six seed commissions - one for each one of our hubs - which really is kickstarting some new work. Then there’s Q&As, there’s wrap-around events… We’re looking at quite a big piece of work that goes around the country. It’s a first for us, and it’s going to be amazing.

What makes Play On! a perfect fit for the season?
It’s the fact that it’s so joyful. I mean, the whole season’s called Black Joy, but Play On! - you’re going to come out singing, with a big smile on your face; you’re going to feel elated and uplifted after this piece of work. There is no doubt about that in my mind; that’s what you’re going to be left with. 

What’s next for Talawa, once the show is on the road?
Well, we’ve got a big outdoor show coming next year, which we’re really looking forward to. We did an outdoor show last year called The Tide, which was about immigration - a very moving piece of work. We’re working on something with Sonia Hughes, who is a well-known artist who does installations outdoors, and with Fubunation, who are a dance company, and we put these two artists together. 
They’re going to be working on a piece that’s around the Black male body, in celebration of that. I know that’s something that Sonia is really passionate about, and we’re hoping it will be delivered this time next year. Look out for that - that will be the next big thing.

Feature by Jessica Clixby

Play On! shows at Coventry’s Belgrade Theatre from Monday 23 September until Saturday 5 October. The play also tours to Birmingham Hippodrome from Wednesday 6 to Saturday 9 November