Chiaroscuro
‘Chiaroscuro, their current and fourth production, focuses on the lives of Aisha, Opal, Beth and Yomi, four Black women who through music, flashback, dance and a series of sketches, explore the politics of being Black in Britain…. While Opal deals with nightmares of an orphaned childhood, being of mixed race and the conflicts of loving Beth, Aisha helps Yomi to examine her homophobia and challenge .her role as a single mother: and in turn Aisha admits she’s a ‘closet lesbian’… ‘Coming out’, racism, women only discos, motherhood – none of these issues are left untouched by the excellent dramatic skills of these four women.’ (Carol Tudor, Spare Rib 165, April 1986)
The Cripple
‘The Cripple destroys myths about disabled people. We are made aware of the taunts Pauline had to put up with as a child, the burden of having ‘maimed legs that are like heavy chains’, as well as the frustration of people equating her ‘maimed body’ to a ‘maimed mind’. But most of all we are made aware of the strength and stamina of a person who is determined to leave a mark in life. T.M. Murphy gives an excellent performance taking on the qualities of Pauline Wiltshire, including humour where it is most needed.’ (Rizu Hamid, Spare Rib, April 1987)
The Children
‘The story describes how a teacher, Mittie, is made by a group of three children to remember her past decisions and the bad times. In doing so, she learns more about these experiences and becomes a better person and teacher… Mittie is at one and the same time the child to be guided and the guide/teacher. They (the ‘children’) inform her as they take her through her personal journey. Mittie rediscovers herself. She learns about responsibility and that the consequences of her choices can last longer than a single lifetime. Death /life is a responsibility. She learns about the need to battle fear and the insidious, subtle brainwashing that controls Black people’s lives. There are other possibilities, Mittie learns; and she realises that she can explore them for herself and others.’ (Delia Regis, Artrage 19, Winter 1987)
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