Talawa – the UK’s leading Black British Theatre Company – is marking a significant milestone of 40 years in 2026. We sat down with Michael Buffong, Artistic Director at Talawa Theatre Company.
How does TALAWA 86:26 celebrate 40 years of legacy while supporting the next generation of Black British theatre talent?
We take a moment to reflect on the incredible journey taken over the past forty years. We create opportunities to honour our fore founders, and we work to establish a resource base that allows us to continue to nurture the next generation of great Black British talent.
What role does the Mona Hammond Lecture Series play in connecting Talawa’s history with contemporary diversity and inclusion debates?
The entire history of Talawa is built on creating space for our artists to exist and thrive, tell their stories in the manner they choose. To support their work, we have built a community of creatives that share this ethos. Part of doing this successfully requires having challenging conversations on the true state of our industry.
Mona was a trailblazer who possessed an incredible clarity of vision — she told the truth and she told it boldly. We want to keep that spirit alive by sparking dialogue around some big themes that often are not spoken about out loud. Artist wellbeing is a huge area of concern and will be one of the first themes we explore in detail.
How do movement and spoken word in Fragments of Us shape the storytelling of Black British experiences today?
There are explicit and implicit expectations for Black men to move, speak or behave in a certain way. Vulnerability is still not a readily championed quality. This work explores and challenges some of the stereotypes around a young Black man and his ability to connect with outré art forms.
How does Talawa nurture emerging writers and performers while maintaining its signature adventurous spirit?
We empower artists to shoot for the moon, punch above their weight. That is the essence of “Talawa.” It’s about providing a safe space where artists feel free to fully explore their ideas, without fear of judgement or failure. We have historic programmes such as our young people’s theatre workshop (TYPT) and Talawa Firsts that to this day provide unique opportunities for emerging artists.
With productions like The Black Jacobins, how do you ensure historical stories of resistance stay relevant for modern audiences?
These themes are endlessly recyclable because human nature hasn’t changed and we often fail to learn the lessons of history. The art is a mirror of society as we see it.
I think it’s important to be aware of our history and historical figures such as Toussaint L’Overture. In doing so, we reveal the huge challenges we have overcome but also learn how to avoid repeating some of the mistakes of the past.
Looking ahead, what are the next steps for Talawa in championing Black talent and shaping British theatre’s future?
Creating bigger stages, attracting better funding, platforming more fearless storytelling.