At What A Price: The Benefits of the Unearthing of Una Marson’s Unpublished Play

Abstract

Focalised through the rehearsal process of a reading of At What A Price by the Black British playwright Una Marson, this article looks to create awareness of this particular work and that of other Black playwrights who may be lesser known in, and beyond, the theatre world. There is discussion of the meaning(s) of ‘Black Theatre’, the role of censorship, Britishness, as well as the canon of work available and used in drama schools. Arguments are posited as to how unearthing unpublished plays can embolden, enrich and challenge our notions of theatre, widen participation and aid efforts to decolonise curricula.

Disclosure Statement

No potential conflict of interest was reported by the author(s).

Notes

1 The live, in-person performance was part of Leeds Playhouse’s Furnace festival, which is ‘a week-long celebration of new work, new artists and new partnerships, offering a kaleidoscopic showcase of performances, workshops, conversations and social events’ (Leeds Playhouse, 2022).

2 It is notable that the Artistic Director of the theatre, Rufus Norris, cannot lay claim to Dyer’s record.

3 ‘Bechdel, however, wasn’t the originator of the test. She has long attributed the idea of the Bechdel test to her friend Liz Wallace, who mentioned the standard to her as Bechdel was looking for ideas for Dykes to Watch Out For’ (Garber, 2015).

4 …or from her island of birth, lest we forget that the knowledge of this manuscript is only because of the recent work of an academic. An academic working in an Academy which isn’t overwrought, in the UK at least, with Jamaican academics.

Additional information

Notes on contributors

Dermot Daly

Dermot Daly is a Senior Lecturer in the School of Drama and member of the EDI Committee at Leeds Conservatoire. He is also a lecturer in Performing Arts at Leeds School of Arts, Leeds Beckett University. His research interests include equality, diversity and inclusion; curriculum reform and implementation; widening participation; and practical drama/acting teaching methodology and practice.