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Guest Blog: Do Critics Engage With Ethnically Diverse Audiences?

Recently, the long-serving Daily Telegraph critic Charles Spencer lamented the fact that “there are no high-profile black or Asian theatre critics”. He made the comment in an article in which he was defending himself against a comment made by director Deborah Warner about the current pool of theatre critics. There’s most certainly a lack of diversity within the critics’ circle, but does this affect how specific audiences engage with them? It’s a question which arises every time I go to a show that has an audience that’s mostly made up of ethnic minorities. Instead of simply wondering, I decided it was time to ask.

There are certain shows which automatically draw in more ethnically diverse audiences. Those that are rooted in a particular culture for example, will have an audience that is made up of a broader demographic. The audience at Oval House tends to be very diverse, young and full of energy, and whenever I’ve visited this theatre, I’ve relished in their evident enthusiasm for the art form. Oval House recently produced the London via Lagos festival. The festival consisted of a series of plays by British-Nigerian playwrights, which would certainly attract a more varied audience.

The production I decided to see was Little Baby Jesus. Written by actor and playwright Arinze Kene, who has most recently found fame via EastEnders, it’s a fast-paced, lyrical and urban production. Made up of three monologues, the play looks at how three teenagers come of age in very different circumstances. References are made throughout to their cultural inheritance and Kene skilfully weaves the fluidity of their identities into the language.

Kene’s appeal ultimately lies in his ability to demonstrate what it is to be a young, black Londoner with an African heritage. The authenticity displayed by this playwright is what has no doubt earned him a following. This audience seemed perfect for establishing the level of engagement they had with mainstream theatre critics.

At the end of the performance, a post-show discussion took place between the actors, playwright and audience. Engrossed in the questions that were being put to the team, I didn’t hijack the discussion, but I did manage to speak to a few audience members at the end. Elizabeth Solarin is a young theatregoer who does consult reviews before going to see a show. When asked how she responds to mainstream theatre criticism, she very honestly told me: “In the mainstream I do take the reviews with a pinch of salt. If we had a review from a BME (black and minority ethnic) critic, I would take that review more seriously because that person obviously understands the racial tensions of the play, the background or the working-class aspects. That’s what is needed. As much as the writers need to connect with the audience, the critic needs to as well. I think that we need to have BME theatre critics”.

Some might argue that a theatre critic doesn’t need to have a deep understanding of the social context of a play in order to review it. But surely having a critic who understands that context can only add value to the review and possibly stir up a livelier debate? It’s clear from watching Little Baby Jesus that Kene’s unique way of dealing with certain themes is what draws in this ethnically diverse audience. Perhaps it’s time we saw a theatre critic in the mainstream that connected with the audience on the same level.

– Amardeep Sohi is a freelance arts journalist and theatre critic.