Features

Gossip Girls

May 25, 2010 By admin Leave a Comment

Give African prints a high-fashion twist with vintage English styling.

Gossip Girls

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Left Dress: Afromania by Nkwo, price on request Tutu: Beyond Retro, £38 Gloves: Beyond Retro, £5 Headpiece: Nkwo, £35 Right Dress: Tina Atiemo, price on request Bodice: Beyond Retro, £8 Hat: Beyond Retro, £8 Gloves: stylist’s own Corsage: Beyond Retro, £12 Bag (just seen): Beyond Retro, £18

Photographer: Joseph Sinclair
Fashion editor: Shevelle Rhule

Make-up: Pauline Briscoe using MAC and Bobbi Brown
Hair: Wayne Shorter Campbell
Fashion Assistant: Zed Eye
Models: Zainab Balogun (zainab16@hotmail.co.uk), Samira Hashi @ Cosmic Model Management
Location: Betty Blythe Fine Food Pantry, 73 Blythe Rd, Brooke Green, London W14 0HP. Tel: 020 7602 1177.
www.bettyblythe.co.uk
Open Mon–Fri 8am–8pm, Sat 8am–6pm.
With special thanks to Lulu and Ola Shobowale.

Filed Under Fashion, Features

Theatre for the Colour Blind

May 24, 2010 By admin Leave a Comment

Will the arrival in the West End of a play with a star-studded all-black cast breathe life into black British theatre or prove to be the death knell? Pride reports.

The usually razor-sharp claws of West End theatre critics have dulled somewhat as they continue to lavish praise on the revived version of Cat on a Hot Tin Roof, directed by the godmother of entertainment, Debbie Allen. The award-winning director/choreographer has collaborated with producer Stephen Byrd to put together a stellar all-black cast including heavyweights from the world of TV, film and theatre, such as James Earl Jones, Phylicia Rashad, Sanaa Lathan, and our very own Adrian Lester and Richard Blackwood. If the cast and crew had any first-night nerves, they’d surely be dispelled after they perused the reviews when the play opened its curtains several weeks ago. “Who can cavil about colour, given the brooding majesty of James Earl Jones,” wrote the Times critic. “Adrian Lester’s Brick is one of the high watermarks of the London year,” observed The Guardian’s Michael Billington.

With a scheduled run of six months at the Novello Theatre in the West End, it’s safe to say that the high expectations of the remake of the classic Tennessee Williams play have been duly met. But the tempo was less upbeat when Cat made its debut on Broadway in early 2008. Months before the opening, the play was assailed with negative commentary from naysayers who assumed that it would bomb because audiences would fail to believe that a black cast could authentically convey the nuances of this classic tale about a wealthy but dysfunctional white family from the Deep South of America. And, of course, there was always the question of who the play would speak to. It’s a commonly held assumption that black people just don’t go to the theatre. The cinema, yes; the comedy club, maybe; but theatre was, and still is, seen as the preserve of the white middle and affluent classes. This would prove to be a misjudgment, however, as despite lukewarm reviews, tickets sold by the bucketload when it finally arrived on Broadway, with sales totalling $14 million in 20 weeks. Furthermore, 80% of the audiences were black, shattering the myth that black people aren’t interested in theatre. “I remember people coming in late, asking if we could start over, talking to the stage,” Byrd says of the spirited theatrical experiences when the theatre was populated by black audiences.

“It’s a common assumption that black people don’t go to the theatre. It’s seen as the preserve of the white middle classes.”

What’s interesting however, is Stephen Byrd’s decision to add a black cast to a play written by a white playwright about a white family. Byrd, an African-American businessman who had a successful career at Goldman Sachs for 15 years, has received criticism from some who believe his decision to revive Cat on a Hot Tin Roof is nothing more than a calculated marketing ploy. He remains undeterred by the criticism. “I looked at the modern classics because I had never seen them done multiracially before. I wanted giants to play these parts, to make them real events for African-Americans.” This is a valid enough argument, but wouldn’t it have been more fitting to remake a piece of work that speaks of the black experience, such as the recent and successful Broadway production of A Raisin in the Sun, which starred Sean “P Diddy” Combs? Or even something as powerful as the iconic The Color Purple, which also received a Broadway makeover in recent years and played for months to rapturous audiences? The thing that makes Cat such a curious choice of revival is not just that the characters were white; it’s also the nature of the story. It’s a tale about a 1950s plantation owner and his family in the Deep South, considered by many as the epicentre of racism in pre-civil rights America. It marks a period in US history when black people were routinely lynched, oppressed and had very little social standing.The life of Big Daddy and his warring privileged brood couldn’t be more of a stark contrast to the existence of African-Americans in the 50s.

According to Debbie Allen, though, this is irrelevant. “The black cast is totally incidental to what we’re doing, which is discovering the heart and heartache and love and lies of the families that we all know,” she says. But she will admit that some elements of the story had to change – for instance, the story is now set in the 1980s rather than the 50s – but she still believes that the themes discussed – love, money, terminal illnesses, sexual dysfunction, alcoholism – are universal.
On the contrary, producer Steven Byrd admits that race was a driving force behind the marketing of the play, and the main reason for transporting the play across the pond is because black audiences are being underfed. The ambitious producer has further plans to give other classic white plays a black makeover, with A Streetcar Named Desire and Death of a Salesman among those on his radar. So, does this mark the future of black theatre? Will audiences have to contend with stories told by others, portrayed by us?

Tellingly, Cat on a Hot Tin Roof is only the second dramatic black play to be staged in the West End, Kwame Kwei-Armah’s Elmina’s Kitchen being the first. While I’m sure most of us will agree that the huge amount of publicity and favourable press that Cat on a Hot Tin Roof is receiving can only bring about positive change to the narrow remit employed by the gatekeepers at the West End, it does beg the question of what this means for the future of productions written by black playwrights, which centre on themes specifically highlighting the black experience. We’re talking about the Kwame Kwei-Armahs of this world, as well as young breakthrough talent such as Bola Agbaje and Roy Williams. Will their stories now be welcomed into the arms of the white theatre elite, or will they be further marginalized and pushed underground because they fail to come with a star-studded African-American cast or a script that is regarded as a classic? Black British playwright Roy Williams believes we still have a long way to go. “There has been progress, but in terms of having more black faces on the stage (and screen), and in terms of fresh, contemporary stories told from a black perspective, we are coming up short,” he says. He also believes that, as black Britons, we have our own unique story to tell. “Our plays are about London now – an exciting, complex, difficult city at the end of the first decade of this new millennium.”

Whether Cat on a Hot Tin Roof will prove to be a positive in the trajectory of black British theatre lies in the hands of theatregoers. The glowing reviews that the production has already received is definitely encouraging. However, the success of the BBC adaptation of Andrea Levy’s tale of immigration Small Island, which raked in 5 million viewers, also proves that there is an appetite for quality, real black drama, despite the theory advocated by many that black life is of no interest to non-black people.

Filed Under Culture, Features

Pride June Issue- Out Now

May 24, 2010 By admin Leave a Comment

Kelis reclaims her style crown: “I don’t think about Lady Gaga or Rihanna!”

Alexandra Burke’s mum: Green with envy?

Wesley Snipes on facing prison: “I’m a black man in the USA, that’s nothing new”

Get that flat stomach for summer in 5 easy steps

Real life: The black girl who turned white

Macy Gray: “If I wasn’t a singer, I’d be a bank robber”

Fashion: Get colourful with tribal prints

Father’s day special: In celebration of our single fathers!

Filed Under Features

Tantrums & Tiaras

April 30, 2010 By admin Leave a Comment

Rachel Christie was crowned the first black Miss England only to be stripped of her title for an alleged assault, thus becoming the talk of the nation. Here she sits down with Pride’s Cynthia Lawrence in a bid to put the record straight. Picture by Michele Maestrini

It was supposed to be the greatest moment of her life – a groundbreaking achievement set to make her a positive role model for young black women. When Rachel Christie, 21, was crowned the first black Miss England in July 2009, she dominated the headlines for making history. The fact that she was an exceptional athlete and niece of Olympic sprinter Linford Christie only added to her glittering profile. Then, suddenly, all her hopes and dreams were dashed overnight when she made the news for all the wrong reasons.

Just weeks before she was due to compete in Miss World, Christie was arrested on suspicion of assault after a “violent brawl” at a nightclub with fellow contestant Sara Jones. The two had allegedly come to blows over Christie’s boyfriend (and Jones’s ex), Gladiator David McIntosh (“Tornado”). Forced to relinquish her crown to runner-up Katrina Hodge, she was left to face the backlash after her humiliating fall from grace. “I would never fight over a man – oh, my God! How embarrassing to read that in the papers. I would never do that in my life,” Rachel is quick to clarify. “I am still in court proceedings, but all I can say is, she [Jones] did push it and shouldn’t have done what she did. It was totally unacceptable. To have someone so spiteful do that? But I let it happen to me, like an idiot. I don’t normally regret anything I do, but I totally regret what happened. It was disgusting, and knowing what she set out to do is just so upsetting. But it wasn’t a fight over him.”
We’re sat in a coffee shop in Battersea, chatting over a hot chocolate, and I am surprised to find an extremely shy, courteous and softly spoken girl. Dressed casually in a white fitted jumper and jeans, with hardly any make-up and her hair tied back, Rachel has an unassuming grace. She is naturally pretty but admits that she only entered the beauty pageant to help build her confidence, which she lacked as a timid child. At times, I could barely hear her, asking if she could speak a little louder for my dictaphone to pick up anything audible. She is in stark contrast to the violent, aggressive and uncouth portrayal of the first black Miss England played out in the relentless media circus.

While it is evident that Rachel is genuinely remorseful for the unfortunate incident, she is well aware of the insidious press vilification of the “angry black woman” that somewhat contributed to her downfall. I wonder if the same incident would have been blown to such huge proportions had Miss England been an untroubled young blonde who came from a privileged background. I think not.

“I read the papers, and it was obvious what they set out to do. They said I was in a porn-themed nightclub, and I so wasn’t.” She shakes her head in utter dismay. “I feel that maybe a few people may have been happy about it, thinking, ‘I told you so.’ This is what I felt so deeply embarrassed about. I’d let down so many people, especially the black community, who really supported me. They think it’s just another told-you-so scenario, and I know I’m not like that. It’s just one thing that happened, and now I’m put into a stereotype. I’m not violent or aggressive! It was such a blow. It really knocked me right down, and it was hard to pick myself up from it. I couldn’t do anything after that.”

Even Bonnie Greer, the black playwright and critic, spoke out, appalled by the treatment of Christie. “If she was asked to step down, that’s frankly shocking. Why isn’t anyone calling anyone to account? Why is everyone just accepting this? I find it strange that there hasn’t been more reflection on her resignation.”

Interestingly, while the reports claimed Rachel voluntarily stepped down, this wasn’t entirely the case. Proud of being the first black Miss England she believed she should have had a fair chance to continue and feels tremendously let down by the Miss World organizers. “I wasn’t actually guilty of doing anything wrong. I hadn’t even been to the police station yet, but they had already made their decision based on the press. I wasn’t given the chance. I agreed at the time to step down, but I was in an emotional state and didn’t know what I was saying or agreeing to. I believe that was wrong, as I should have been allowed to sit back and think about it. Everyone makes mistakes. You’re human, and nobody’s perfect. I think Miss World should be more open to things like that.”

However, Rachel is no stranger to dealing with tough challenges. Her childhood was a far cry from the glamorous beauty-queen world. Growing up on a rough estate in the Latimer Road/Ladbroke Grove area of west London, she admits to seeing things that “children shouldn’t be seeing”. When she was eight, her father, Russell, who had been in and out of prison, was involved in a street fight and was stabbed to death. The whole experience was devastating, and Rachel was forced to grow up quickly to help her Irish-Hungarian mother raise her younger siblings. With reports of her dad being a violent criminal, her worst fear was that people would see history repeating itself. “It’s really annoying when you have an interview and they tell you what your dad was like. How could they tell me? They portrayed him as some crackhead running around the streets. They didn’t know him. People would look at me and judge, saying, ‘She’s fighting as well.’ It was really frustrating.”

Despite her personal turmoil, she reveals that her father’s death made her more independent, determined and mentally strong – all the qualities needed to pick herself up from the Miss England debacle and move on. “I was naturally feeling low about myself and had to keep myself busy. All I have to do is move on and forget about it. But it’s hard when everyone keeps talking about it.” She flashes a smile. “At times, it feels like I’m finished, but I am strong.” Now, the heptathlete is concentrating on her training to pursue her ambitions for the 2012 Olympics. Aiming to put the shameful past year behind her, she looks forward to rebuilding her future. Let’s hope that lessons are learned and the New Year will be more promising for the former Miss England.

Filed Under Features

LAST CHANCE to Win your own free Jamaican Wedding

April 21, 2010 By admin Leave a Comment

Pride magazine, in conjunction with the luxurious Half Moon resort and SN Travel, is offering one lucky couple a free Jamaican wedding worth over £10,000.

To enter, all you have to do is send Pride a picture of you and your fiancé and, within 70 words, express why you should be the ones taking your nuptial vows in paradise.

Please send entries to:
Jamaican Wedding Competition, Pride Magazine, Pride House, 55 Battersea Bridge Road, London SW11 3AX or email competitions@pridemagazine.com

The package, which costs over £10,000, includes:
Flights to and from Jamaica
Accommodation for 7 nights
Marriage officer (for ceremony only)
Two witnesses
Bouquet and boutonnière
One bottle of Champagne
Registrar fees for marriage licence
One-tier wedding cake
Free room upgrade (based on availability)
One private wedding dinner for two with bottle of Champagne
Morning-after breakfast in bed with Champagne
ALSO INCLUDES:
Breakfast, lunch, afternoon tea and dinner daily
Drinks at resort bars
Private-car round-trip airport transfers (Sangster International)
Welcome gift in room on arrival
Bottle of Champagne in room on arrival
Bicycles
Windsurfing and sailing
Glass-bottom boat ride
Horseback riding
Use of Nautilus gymnasium
Tennis and squash (day and night)
Volleyball, basketball and badminton
Lilos
Paddle boats
Single and double kayaks

The prize must be taken either in 2010 between 1 May and 31 October, or in 2011 between 1 May and 31 October. It is subject to availability. All entrants are subject to Pride’s terms and conditions, which will be sent on request.