There is an appealing simplicity to the narrative of Camus’s 1947 novel: originally set in Oran, in French Algerian, the book tells the story of a devastating infection that starts off slowly but eventually leads to social and economic crisis as the city gates are closed and its people become prisoners.
American, Pulitzer Prize-winning playwright Suzan-Lori Parks doesn’t shy away from epic projects. Six years ago, she wrote a play a day to create 365 Days/365 Plays, then went on to write the nine-part Father Comes Home From the Wars. Parts one, two and three centre around Hero, a strapping young slave on a remote Texan farm.
A young couple meet, the relationship blooms, then goes through a rough patch and eventually ends when they are much older. Was it meant to be? Are the events in our lives accidental or controlled by outside forces? Within a standard love story, Nude boldly states that fate has the final word over life, death and love.
Of course I want to see lots of excellent black, Asian and minority ethnic (BAME) actors cast in lead roles. No thinking theatre lover wouldn’t. The best and most suitable actors for every part, please. I am, however, disturbed by the distorted way in which last week’s report led by Jami Rogers for the University of Warwick and based on the Black and Asian Shakespeare Performance Database has been spun.