What is the future of Blackness?

21 playwrights, 21 directors and 21 actors respond in this urgent anthology series now streaming on CBC Gem.

21 Black Futures: Trailer

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21 Black Futures is a production of Obsidian Theatre, Canada’s leading theatre for Black art. Obsidian would like to thank the incredible production team that worked on the show, and acknowledge the generous support of its funders and community supporters.

Go deeper into each monodrama in the program guide, below.

Mumbi Tindyebwa Otu

A radical offering in unprecedented times: the story of 21 Black Futures

In July 2020, I began my journey as the new artistic director of Obsidian Theatre Company, a 20-year-old ensemble with a strong legacy of centring and championing Black stories and Black artists. We were in the midst of a pandemic and the global fight against racism and violence toward Black people. Theatres across the country were shut down, and the future of live performance was uncertain.

To say it was quite a time to begin my journey as an artistic director is an understatement.

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All the programming my predecessor Philip Akin had planned for his final season was cancelled or postponed. I was in the position of not only learning a new job, but also developing material for the 2020-2021 season. I had the choice either to wait out the pandemic or to adapt and create new programming that would reflect our times in both form and content.

Prior to beginning my role at Obsidian, I was a busy freelance theatre director who had also seen all of my upcoming gigs disappear due to COVID-19. With no end to the pandemic in sight, I went further into self-isolation, mourning privately the continuous murder of Black people at the hands of police. With no access to the theatre and no access to community, I was hurting and in need of connection.

I wondered how other Black artists across the country were doing. Especially when, around the world, the gaze of institutions, individuals and even politicians had turned sharply toward us. How could I respond and support Black artists from an institutional capacity? I thought about all the veteran artists who had been part of building Obsidian’s legacy and the aspiring theatre-makers, in various parts of the country, who had maybe never even heard of Obsidian. Was there a way we could come together in this moment and create something communal; something unapologetically Black; something with the Black gaze at its centre? A radical offering in unprecedented times.

I was interested in new stories about imagined Black futures to counter the messaging that was suddenly everywhere about us, but not from us. I was interested in new words, in new language, in what Black writers and thinkers across the country had to say about our future.

In conversation with the team at Obsidian, we decided to engage 21 writers from different generations and with different levels of experience — writers who reflected the rich diversity of Blackness in Canada. Twenty-one to celebrate Obsidian’s 21st anniversary in 2021. Each writer was tasked with writing a 10-minute monodrama — a one-person play — in response to the question What is the future of Blackness? We further engaged 21 Black directors and 21 Black actors to bring these stories to life as short theatrical films. Our goal was to give as many opportunities to as many diverse Black artists as possible and to bring new voices together from both film and theatre. It was a grand experiment to create as rich a tapestry as we could for the imagining of Black futures.

The experiment has finally come to life. The journey to get here — to create and present work of this scale in the middle of a pandemic — has certainly not been easy. We have learned a ton, adapted daily to producing a new form of storytelling that is a hybrid of theatre and film, and met and connected with so many incredible Black artists in a way that had never happened before at Obsidian. We are proud of and grateful to the 63 Black artists and creative and production teams who have been working tirelessly for months to make this project happen. We celebrate their incredible talent, and we hope you embrace and engage with their work over and over again this Black History Month and beyond.

All of us at Obsidian are truly grateful for the partnership with the CBC, which has given us a national platform to present this work. A special thanks to our supervising producer, Lucius Dechausay, who has been an incredible collaborator, helping us shape the filming of this project with so much rigour and care. Huge thanks to our venue production partner, TO Live, for giving us a space to film the project, and to all our donors and community supporters who have helped us make this project possible.

Thank you to my team at Obsidian, who have been my rock during this process. To my predecessors Philip Akin and Alison Sealy-Smith, thank you for the strong foundation you left at Obsidian, which we are now building upon.

What is the future of Blackness? Join us now for 21 versions of it.

Season 1

In a near-future world not unlike our own, premature Black death is an inevitability. But there is one significant shift from the present: Black folks now have the power to define the stories of their own lives on the hit television show The Death News. In this 12-minute play, we meet a young man who grapples with what to say when he records his obituary for a future episode — date TBD.

Note: Strong language

  • Playwright

    Amanda Parris


  • Director

    Charles Officer


  • Actor

    Lovell Adams‑Gray


Director's Note:

The Death News invites Black people to record their obituaries using their own authentic voices and words to illustrate their lives. On first read, this revolutionary and absurd concept, written by Amanda Parris, moved me to my core and as a Black man.

The power of the piece is the call to action: for us Black people to claim our existence, claim our narrative.

In the play, the struggle for Dante lies in answering the question: What do you want people to remember about you? His journey leads to understanding what matters to him the most.

True say, the brutal evidence of racial injustice we witnessed as a Black community in 2020 was unforgettable. I can’t say there is anything more essential to examine for us. Tomorrow is not promised.

— Charles Officer

Cil Brown loves her work. Her job as a Sender on a global racism-elimination project has resulted in a peaceful, logical and sustainable world. However, she encounters technical difficulties when a Sendee objects to restrictions on the lives of residents of White Supremacist Island.

Note: Strong language

  • Playwright

    Cheryl Foggo


  • Director

    Leah-Simone Bowen


  • Actor

    Amanda Cordner


Director's Note:

2020 marked the 30th anniversary of Cheryl Foggo’s groundbreaking book Pourin' Down Rain: A Black Woman Claims Her Place in the Canadian West. In it, she recounts her life growing up as a Black girl in Calgary with her family, documenting the long legacy that Black people imprinted on the province of Alberta. She wrote the book with the understanding that the Black experience in Alberta had for years been obfuscated by the dominant settler narrative — stories that erased Indigenous Nations, Black people and other people of colour in favour of tales of “open land.”

When her book was released in 1990, I was a young Black girl growing up with my family in Edmonton. I had no inkling that a rich history of Black Albertans even existed. I made the false assumption that Black people had arrived around the ‘50s or ‘60s because I had never been taught otherwise and could not fathom there were women like Cheryl, whose family had been in Alberta for generations. Because of writers like her, I grew to learn I was not an anomaly, but part of a larger fellowship of Black people in the Prairies, with a rich tapestry of stories and traditions of their own that dated back to the early 1900s.

When Obsidian asked me to be a part of this project and told me it would be Cheryl Foggo's piece I would be directing, it reminded me of a saying: “If one does not see themselves in history, they cannot envision themselves in the future.” And so, what a gift it has been to direct a piece about a Black future by the woman who gave me mine.

— Leah-Simone Bowen

Jah, a former student radical, is speeding through the universe inside a dub song. As they travel, a blue macaw urges them to relive a demonstration during which a colonial monument was toppled. The Earthly consequences were dire, but ancestors intervened to offer Jah an eternal reward.

  • Playwright

    Kaie Kellough


  • Director

    d’bi.young anitafrika


  • Actor

    Ravyn Wngz


Director's Note:

Within the Afrofuturist kaleidoscopic rainforest of a dub tune we meet Jah, travelling inside an everlasting song. A question lingers on the rhythm: Do I return — to the incomplete, to rage, to revolution — or do I rub-a-dub into eternity?

Writer Kaie Kellough took inspiration from the track Every Dub Shall Scrub by Scientist, a Babalawo of dub music who trained under the genre’s founder, King Tubby. Dub embodies a cultural revolution in Jamaica, which reverberated throughout the world, transforming the musical recording process via sonic fragmentation and radical technological experimentation in studio. This new Black soundscape conjured living musical universes through community sound systems, which transported African descendants beyond neocolonialism to Black utopias soaked in the sweat of dancehall and decolonization.

It is in one of these universes that we encounter Jah, who invites us to query our own relationship to coloniality, political action and personal accountability. Jah sings a dub reinterpretation of the original Philippians 2:10-11 Bible verse — “Every knee shall bow / And every tongue confess / On the day / When Jah shall come” — as a warning, an incantation, an invocation and a proclamation. Jah or Jah Jah is the name of God in Rastafari — the anti-colonial socio-religious movement that emerged in Jamaica in the late 1930s. The story’s central character, Jah, journeys toward their Godself, being the very transformation that they seek.

In the process of directing the piece, certain questions arose: How do we move toward our Godself as agents of change in the current global political climate? How can we transform rage, make revolution, and achieve completeness? How will we embody ancient African rhythms transmuted across time — becoming dub — as a space of peace?

Jah in the Ever-Expanding Song does not offer answers; instead it reminds us that we — like Jah, like dub — can choose to be transcendent, transformational and transgressive in the face of ongoing neo-colonial atrocities.

— d’bi.young anitafrika

In the year 2080 and just hours after receiving a terminal diagnosis, Aodri struggles to discuss an uncertain future with her 10-year-old daughter Bena. Mother and daughter are among the last surviving members of the Ebanu people, a community of African-descended people who resisted transatlantic slavery. Eager to ensure survival of their culture, Aodri instructs Bena in their traditional language using American Sign Language and other gestures.

Note: Strong language

  • Playwright

    Shauntay Grant


  • Director

    Lisa Karen Cox

    Karen Cox

  • Actor

    Natasha “Courage” Bacchus


Actor's Note:

Actor's note in ASL by Natasha "Courage" Bacchus


Hello! My name is Courage. My real name is Natasha Bacchus, and the character that I’m playing is Aodri. My experience rehearsing this past month with the director Lisa Cox — I felt honoured to be part of this production of 21 Black Futures.

It’s important to me and the reason for that is that I’ve never had a chance to experience working and rehearsing with a Black theatre company. So with this script by Shauntay Grant from Nova Scotia, the story and the script reading it over — I was quite fascinated. With the use of English and African-American vernacular, the script was challenging to translate into ASL. I learned a lot, and the story reminds me of getting back to the connection of where I’m from.

My family is from Guyana. And we’re historically part of the African diaspora. And so I’ve become more immersed in African art and poetry and the use of language. It’s made me research! I want to thank you for being part of this production. Thank you for having me!

— Natasha “Courage” Bacchus

It’s 100 years in the future. The last African warrior wanders around the barren continent searching for the remains of his tribe. He discovers a rock, the only evidence of a once fruitful Africa, and decides to tell his story. Through the art of poetry, talking drums, Nigerian fables about the tongue, and odes to nature, the warrior rediscovers his culture in the face of extinction. Madness with Rocks is a life lesson to inspire lost souls and remind us of the magic of storytelling.

  • Playwright

    Peace Akintade


  • Director

    Jamie Robinson


  • Actor

    Dion Johnstone


Director's Note:

When the damage has been done, how do we heal? What does it mean to truly forgive? The history of Africa has been told best through oral storytelling, its lessons passed down through generations. In Peace Akintade’s allegorical tale, a warrior struggles to rediscover his lost tribe and his heritage to heal after his oppressor’s harm to Mother Africa. Today, we must all heal from our immediate past and strive for harmony in the future — without blame, shame or amnesia. Rather than madly demanding change from solid rocks, we must see these formations for what they really are: grains of sand that can be nurtured in the palm of our hand. It is from this peaceful place that you, the audience, are invited — with the click of a button — to hear the warrior’s story upon a theatre stage. Mother Africa is by your side and always willing to forgive, if you truly want it.

— Jamie Robinson

In a world where calling the cops is not the only option, a veteran emergency services dispatcher leads a rookie through a training day. “Yeah, but does anything ever change?” asks the skeptical youngblood. Over the course of the session — from a lost dog to a mental health distress call — the rookie learns what it means to be a witness. Equal parts pathos and proverb, this story could save a life.

  • Playwright

    Donna-Michelle St. Bernard

    St. Bernard

  • Director

    Sarah Waisvisz


  • Actor

    Uche Ama


Director's Note:

The policing system in North America was born out of — indeed, born in order to support — the structures that upheld slavery and genocide. Since we know this to be true, why do we allow it to persist? Isn’t there another way to serve and protect our communities so we can meet the needs of the most vulnerable?

Donna-Michelle St. Bernard’s Witness Shift challenges us to imagine a future in which calling the cops is not the only option in an emergency; a future in which the aspirations to “Abolish the Police” and to “Defund the Police” are allowed to play out. The play offers us a model to explore the steps we need to take to transform our society so each of us can truly be seen in our full humanity and each of us can truly be free.

Witness Shift is dedicated to Regis, Breonna, Abdirahman and everyone who deserved a different system.

— Sarah Waisvisz

Gabriaela Monk, a 40-something business professional, just got fired from her job at a dating app company. The cause? A racial sensitivity seminar gone terribly wrong. As she considers her situation, Gabriaela recalls conversations with her late mother — who warned her of the folly of educating white people — and relives the interactions with her seminar participants that went straight downhill.

Note: Strong language

  • Playwright

    Lawrence Hill


  • Director

    Mike Payette


  • Actor

    Sabryn Rock


Director's Note:

It’s a few years from the present, and Gabriaela Monk misses her GO train to Hamilton. She’s just been fired from her long-standing job as the only racial sensitivity trainer at Connect International, one of Canada’s leading dating services. The aftermath for Gabriaela is a complex and honest reliving of what led her to this moment, negotiating the wisdom of her deceased mother and the voices that challenge the relevance and value of sensitivity work in these times.

Lawrence Hill weaves a singular narrative about one woman’s personal investigation, through humour and questioning, and her quest for hope and to reclaim her dignity. It’s a contemporary and deeply resonant piece that asks us to remember who we are and what we believe in when confronted with those who challenge us.

— Mike Payette

Seeding the Future

Black theatre students share original art and performances inspired by 21 Black Futures. See their responses »

Season 2

Moving to Diamond Valley, an all-Black town in 2035 Alberta, has led to an identity crisis for eight-year-old Zari: she is no longer the only Black kid at her school. Wanting to find ways to stand out, she turns to God to help her brainstorm. But when God is unresponsive, she takes matters into her own hands.

  • Playwright

    Keshia Cheesman


  • Director

    Jay Northcott


  • Actor

    Avery Grant


Director's Note:

I always wanted to be different. My family are all electricians; I became an artist. Kids in school wanted to play dodgeball; I would meditate (incorrectly) in a corner at recess. That was my identity for a long time: the exact opposite of everyone else.

This is why I connected to Keshia’s piece, Special. It explores what it means to be different and how identity is a state of mind. It tells the story of an eight-year-old girl trying to find the meaning of life while struggling to understand the complexity of self. In this play, we see how this battle is within all of us and experience the vulnerability of asking for a sign to tell us, Am I doing the right thing?

There has been a shift in Western culture. We have become a melting pot, where access to everyone and everything is like it has never been before.

You can’t be different because someone is already doing what you’re doing — and probably doing it better than you on TikTok. So what makes you special? That is the question Zari is looking to answer. Isn’t it what we are all looking for?

— Jay Northcott

Facing the justice system alone, Adrian’s future is in jeopardy. But what if there were a corporation that set out to amass Black wealth, knowledge, strength and hard work for the betterment of Black society? A corporation that exploited capitalist systems, normally used as tools of suppression, to uplift and care for Black causes and Black people? What if that group stepped in to ensure Adrian’s talents wouldn't be wasted in prison? This is the collective. This is Umoja Corp.

Note: Strong language

  • Playwright

    Jacob Sampson


  • Director

    Leighton Alexander Williams

    Leighton Alexander

  • Actor

    Pablo Ogunlesi


Director's Note:

Charged with fraud and identity theft, Adrian Joy Ellis faces the full wrath of the court system — until Umoja Corp. steps in. We join Adrian in isolation as he recounts the steps that led to his imprisonment.

This film tackles themes of isolation. We see its effects on mental health as Adrian spirals downward, making bad choices just to survive. This story is pertinent in this day and age, because of the COVID-19 lockdowns, which compounded unemployment, mental health issues and other societal ills. Stepping into Adrian’s shoes is not a difficult task for many, thanks to 2020.

But the story also explores unity as a major theme — depicting a future in which the Black diaspora steps into our collective power. Beautiful to behold.

Finally, I thought it important to shape Jacob’s text into a love letter: Dear Black women, we love and need you; Sincerely, Black men. Through all the challenges Adrian faces, his saviour is “the Black woman.” With the recent and ongoing civil war in North America regarding Black Lives Matter, our Black women were on the front line for fallen brothers. But when the role is reversed — when our women go missing and are killed (Oluwatoyin); when they fall from their balconies (Regis), when they are slain in their homes (Breonna) — where are Black men’s voices? My hope is that this little film sparks trust again between Black man and woman.

“We were conquerors when in concordance. We bathed in Gold and birthed the boldest battalions. Wakanda is not a wish. Pharaohs are not fictitious. Our empire is not erased. Black is King. Black has been King. Black will be King, but only if Black joins Queen.”

— Leighton Alexander Williams

It’s 2045, and Crystal Hinds has a message for the NBA board. Twenty-five years ago, in the middle of a pandemic and global racial reckoning, she watched athletes boycott the sport they loved for something more important. She was just 12 at the time, but that event lit a fire inside her. Since then, she’s been imagining a radical new future for Black athletes — and it’s about to become a reality.

Note: Strong language

  • Playwright

    Luke Reece


  • Director

    Ngozi Paul


  • Actor

    Lisa Berry


Director's Note:

Crazy times — but isn’t that always the case? Will it always be this crazy?

Our social fabric is on fire, and race politics — including politics around Blackness — and other identity politics are only fuel for this fire.

In Notice, we see the future of disenchanted Black children born in this age, their anger and frustration transformed into a powerful agency. They’re swift on the court, but are they making the right moves in life? Creating new organizations on the basis of race might not seem like the best way to proceed; on the other hand, it might be the only way.

Sport has long been seen as a way out — but a way out from what?

Black communities have been underserved and overpoliced. Still, we have improved greatly and must continue to improve greatly. But let us think carefully as to how we do that.

I am fascinated by freedom, and I am taken aback by the divisiveness of this moment, aghast at growing calls for actions that erode what precious freedoms we have enshrined, aghast at certainty in unfounded theories and vigorous destruction in the name of those theories.

Martin Luther King Jr. imagined a world where children of all colours could play, love and live together. While the dream is still alive, it is not invincible.

What if we used this moment to become our best selves, together?

Perhaps we can imagine a future of equity. Notice explores what that future might look like and how we might win at this game called life, together.

— Ngozi Paul

Effie Andoh, 24 and of mixed Afro-Inuk heritage, finds herself in Nunavut for the first time to attend her grandmother’s funeral. She takes a boat trip with her uncle and cousin, Tia, and afterward the cousins hang back to pick berries on a hillside by the bay. Inspired by the idyllic surroundings, an excited Effie begins to reflect on her family’s struggles to a patient Tia.

  • Playwright

    Miali-Elise Coley-Sudlovenick


  • Director

    Alicia K. Harris

    Alicia K.

  • Actor

    Adeline Bird


Writer's Note:

Black future represents many things; we see one possibility in Blackberries, which tells a story about identity, compassion and being home. The play follows Effie Andoh, a mixed heritage Afro-Inuk woman, who visits Nunavut for the first time to attend her grandmother’s funeral.

Picking berries with her cousin inspires clarity. Effie finally has the space to reflect on intergenerational trauma, alcoholism and why her mother never returned home to Nunavut.

Effie receives love and warmth from her Inuit family and the land, which awakens in her a desire to embrace Inuit cultural practices and the language — a chance to connect with her roots.

— Miali-Elise Coley-Sudlovenick

director's Note:

Many of us have intersecting identities. In Blackberries, we see Effie reflect on her mixed-heritage family, and her two cultures. The play follows her journey in uniting the two, as she embraces them both as herself, both as home. Effie shows us it's never too late to learn more about your heritage, to grow and to expand — as there is no one way to be Black. Black future is us reclaiming our roots, freely. Black future is us being accepted as we are, and all parts of ourselves. Black future is redefining home.

— Alicia K. Harris

Seven years after the Fall, Medgar makes his way along the shores of the Great Ontario Sea and remembers his lost love Emmett. Every day is very much the same on an Earth still plagued by viruses. But on this day, everything is about to change.

Note: Strong language

  • Playwright

    Syrus Marcus Ware

    Marcus Ware

  • Director

    Tanisha Taitt


  • Actor

    Prince Amponsah


Director's Note:

How fascinating it is for Obsidian to consider the future of Blackness through so many pairs of our own eyes. It has been such a truly beautiful experience collaborating with Syrus Marcus Ware and Prince Amponsah on Emmett. From the first time I read the piece, I was struck by its beautiful and stark imagery. What is Blackness when humanity is all but a memory? What energy does Black love, and Black love lost, leave behind? In Emmett, a Black man who should be dead is somehow still alive. That simple statement is the story of the Black spirit itself: it — we — are not gone. In the face of all that would seek to erase it — and the bodies inhabited by it — it remains unbreakable, indomitable, wounded but glorious, and defiantly Black.

— Tanisha Taitt

A bride motors down a highway in her wedding dress, struggling to make sense of what led her to this moment. Her veil lies crumpled on the back seat. Her cellphone keeps ringing, and the car in her rear view appears to be following her. Could it be Mathiew, her groom?

Note: Strong language

  • Playwright

    Djanet Sears


  • Director

    Weyni Mengesha


  • Actor

    Virgilia Griffith


Writer's Note:

In the wake of the murders of George Floyd and Breonna Taylor, when race-based incidents are investigated in the media, it is common practice for journalists to examine the motivations of the perpetrators. We see it happening in the news today in reports about the Capitol insurrection. We saw it when a Canadian “Karen,” Amy Cooper, called the police on the birdwatcher in Central Park. “Why did (insert name of a Karen here) feel forced to attack (a description of a person of colour here)?” But do we know the name of the man she victimized? His last name was Cooper too — Christian Cooper. Another frequently asked question is “What is behind the rise in race-based attacks on people of colour?” Or “what drove (insert the name of a “Kevin” — a wannabe fascist — here) to want to be a Proud Boy?” If the injured party is Black, the news story will typically focus on the white attacker.

This short play was inspired by real events. It was also prompted by a two-decade-old study by clinical psychologist Maya McNeilly out of Duke University Medical Center which suggested that “racist provocation” could lead to damaging physical and emotional symptoms. As McNeilly put it, “It is well-documented that racism has negative social, economic and political consequences on African Americans, but the direct effects of racism on physical and emotional health have only begun to be explored."

This story continues that exploration and contemplates the effects of the terrorism of overt and implicit white supremacy on the physical and emotional life of one particular Black woman: Georgeena.

— Djanet Sears

It’s New Year’s Eve 2059, the night before the long-awaited Reparations Day, and Chariott receives a mysterious call that leads her on a ride through the world outside her bubble. Cities are sky-high, a curfew is on and it’s hard to tell humans from holograms. On this surreal road trip, she tunes into BlackSpaceX radio and, helped along by a cadre of cryptic guides, finds herself on the astronomical journey of her life.

Note: Strong language

  • Playwright



  • Director

    Jerome Kruin


  • Actor

    Chelsea Russell


Director's Note:

Rebirth of the Afronauts: A Black Space Odyssey incorporates themes that are rarely explored in mainstream media: Afrofuturism, Afrofuturist music, reparations, space travel, destiny, language and technology in the future, identity and the African diaspora in North America. These themes and the storylines in the film are essential; they are rooted in history, while amplifying the voice of the next generation.

In mainstream media, I have not seen a film or TV show talking about reparations, reclamation of land and Black liberation in an Afrofuturist world. Especially from a Canadian point-of-view.

The film asks bold questions about who we are as individuals, as people, as a culture and as a nation. Being a first- or second-generation African Canadian creates hybrid identities at the intersection of ethnic/national origins within North America. I ask myself those same questions all the time, and as a proud first-generation African Canadian director, I wanted to bring my unique vision and authenticity to the film.

I am also extremely honoured to collaborate with Motion, who is a super-talented writer, wise beyond my imagination, and an amazing collaborator from beginning to end; and Chelsea Russell, a talented ball of energy, a generous actor and a force to be reckoned with.

— Jerome Kruin

Season 3


An exhausted and enraged Ancestor is planting the new generation in a cracked and scorched earth. Guided by the thunderous sky, and with rage burning within, Ancestor must decide just what to pass on.

Playwright: K.P Dennis | Director: Mumbi Tindyebwa Otu | Actor: Alison Sealy-Smith

Premiering February 26th

40 Parsecs and Some Fuel

Satchel Dew is the principal engineer behind a groundbreaking military spacecraft — and in this hip-hop parable, he’s about to commandeer it in search of a planet where Black people can live in peace.

Playwright: Omari Newton | Director: Lucius Dechausay | Actor: Daniel Faraldo

Premiering February 26th

The Prescription

A Black woman is the first recipient of a revolutionary new treatment for those affected by racism, bigotry, white supremacy or unwanted hair touching. Too good to be true? Recipient 1 thinks so.

Playwright: Lisa Codrington | Director: Alison Duke | Actor: Akosua Amo-Adem

Premiering February 26th


A simple, loaded question — “Where are you from?” — sends Muco spiralling through memories as she questions her identity and her legitimacy as a writer.

Playwright: Stephie Mazunya | Rehearsal Director: Katia Café-Fébrissy | Film Director: Mike Payette | Actor: Sheila Ingabire-Isaro

Premiering February 26th

Yɛn Ara Asaase Ni/This Is Our Own Native Land

It is 2080. There is a race war in North America. A vessel carrying 500,000 refugees and led by a rich young Black man sits at Osu, off the coast of Ghana. Will they be allowed in?

Playwright: Tawiah M’Carthy | Director: Dorothy A. Atabong | Actor: Peter Fernandes

Premiering February 26th

Builders of Nations

Armed with a chisel and a hammer, Hussein weaves the story of his 100-year-old life — a life born of hope and steeped in sorrow — into a sculpture 20 years in the making.

Playwright: Joseph Jomo Pierre | Director: Kimberley Rampersad | Actor: Philip Akin

Premiering February 26th

Omega Child

Fifty years after a worldwide apocalypse, a young Black girl, who lives underground, musters up the courage to leave the only home she knows for the survival of her people.

Playwright: Cherissa Richards | Director: ahdri zhina mandiela | Actor: Emerjade Simms

Premiering February 26th


Creative Team

Set and Costume Designer: Rachel Forbes | Lighting Designer: Shawn Henry | Projection Designers: Cameron Davis and Laura Warren | Props Coordinator: David Hoekstra | Head of Wardrobe: Joyce Padua | Assistant Set and Costume Designer: Jawon Kang | Hair & Make Up Specialist: Bianca Harris

Film Team

Cinematographer: Keenan Lynch | First Assistant Camera: Arvin Cordova | Digital Imaging Technician: Jeff Pentilla | Location Sound Recordist: Kevin Brown | Editors: Ramon Charles, Ashton Lewis, Joe Amio and March Mercanti | Sound Designer: DJ Loqenz | Sound Designers/Mixers: Antoinette Tomlinson, Inaam Haq, Debashis Sinha and Rez Dahya | Online Editor: Ken Yan | Senior Consulting Online Editor: Jordan Lavigne

Producing Team

Artistic Director: Mumbi Tindyebwa Otu | General Manager: Michael Sinclair | Artistic Producer: Fatuma Adar | Company Dramaturge: Myekah Payne | Line Producer: Muzafar Malik | Production Coordinator: Malina Patel | Stage Manager/Script Supervisor: Kat Chin | Production Manager: Crystal Lee | Associate Production Manager: Carlos Varela | Rehearsal Stage Manager: Emilie Aubin | Production Assistant / Driver: Emida Olusegun

Additional Creative Team Members

Creative Director: Chinedu Ukabam | Artwork by: Yung Yemi | Graphic Design: Gloria Asse Elogo | Publicity: Suzanne Cheriton | Assistant Director: KayGeni - Jah in the Ever-Expanding Song | Assistant Director: Abigail Whitney - Sensitivity, Witness Shift, Madness With Rocks, Notice | ASL Coach: Natasha 'Courage' Bacchus - Witness Shift | ASL Interpreter: Marcia Martins - Witness Shift, Beyere | ASL Interpreter: Denica C. Brown - Beyere | Artistic ASL Consultant: Dr Jenelle Rouse - Beyere | French Dramaturgy: Stéphanie Jasmin - Chronologie | Movement Director: Esie Mensah - Cavities | Workshop Director: Sasha Leigh Henry - The Prescription


Supervising Producer: Lucius Dechausay | Website: Jeff Hume | Copy Editor: Marcia Chen | Production Manager, CBC Arts: Luke Myers | Manager, Digital Business and Rights: Clara Lee | Executive Producer, CBC Arts: Andrew D'Cruz | Executive in Charge of Programming, CBC Arts: Grazyna Krupa

Special Thanks To:

BIPOC TV & FILM, Kelly Fyffe-Marshall, Alistair Hepburn, Ravi Jain, Ulla Laidlaw, Weyni Mengesha, Shanna Miller, Jeremy Mimnagh, Charles Officer, Peter Pasy, Ngozi Paul, Trevor Schwellnus, Djanet Sears, Bahia Watson

Funders and Supporters

Venue Production Partner : TO Live

21 Community Supporters: Harbourfront Theatre, Canadian Stage, National Arts Centre (supporting Beyere), Tarragon Theatre, 2b theatre company, BnB Hamilton Fund, Centaur Theatre, Coal Mine Theatre, Crow's Theatre, Downstage Theatre , Eastern Front Theatre, The Musical Stage Company (supporting 40 Parsecs and Some Fuel), Necessary Angel Theatre Company, Nightwood Theatre, Prairie Theatre Exchange, Royal Manitoba Theatre Centre, Soulpepper Theatre, The Theatre Centre, Theatre Calgary, Why Not Theatre, IATSE Local 58

Obsidian also receives support from:
Season Sponsor: TD | Project Sponsor: TAC - Open Door Grant | Sponsors: Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, Hal Jackman Foundation, Metcalf Foundation