Vera Cudjoe

Vera Cudjoe (born 1928) is a Trinidadian-Canadian actress, producer, and educator. She founded Black Theatre Canada (BTC; 1973–1988), a youth and community-oriented institution which helped train and launch the career of numerous Black performers and artists in North America. Among the Theatre's legacies are Delroy Lindo, Arlene Duncan, Leon Bibb, Jackie Richardson, Joe Sealy, Tom Butler, Philip Akin, and ahdri zhina mandiela.

Vera Cudjoe
Born1928
Trinidad
EducationRyerson University, Ontario Theological Seminary
Years active1962-
OrganizationBlack Theatre Canada
Known forBlack Theatre Canada
Notable work
A Raisin in the Sun (1978; first Canadian production); More About Me (1979); A Caribbean Midsummer Night’s Dream (1983); One More Stop on the Freedom Train (1984–86); Arts Against Apartheid Festival (1986); Jumping the Broom (2011)
AwardsQueen Elizabeth II Silver Jubilee Medal; African-Canadian Achievement Award

Cudjoe grew up in Trinidad, trained as a nurse in England, and moved to Toronto in 1960. She began to pursue theatre and performance in 1962, making contact with Studio Lab and Toronto Workshop Productions. The lack of opportunities for Black youth motivated her to pursue the establishment of BTC. Under her leadership, BTC produced well-received and well-attended works, including the first Canadian production of A Raisin in the Sun (1978) and the Dora Mavor Moore Award-winning A Caribbean Midsummer Night's Dream (1983). One More Stop on the Freedom Train (1984), a musical about the Underground Railroad in Ontario, toured Ontario in 1985 and played at Vancouver Expo 86 as part of the Arts Against Apartheid Festival.

Cudjoe has acted in a number of works, including E.N.G. (1989), Rookie Blue (2010), and Jumping the Broom (2011).

For her contributions, Cudjoe received the Queen Elizabeth II Silver Jubilee Medal and the African-Canadian Achievement Award in Arts and Entertainment.

Life

Early life

Vera Cudjoe was born in 1928 in Trinidad as the youngest of six children. She grew up on the island and attended Naparima Girls' High School.[1] At the time in Trinidad—which was not yet independent from the United Kingdom—higher education was only available to those with the means to access it, and to the very few who received "colonial scholarships" for study in England.[2] Cudjoe received one such scholarship which took her to England to train in midwifery and nursing, among the only options open to racialised women at the time. During her time in England, Cudjoe became involved in the West Indian Students' Union and was introduced to performance through a friend who was an actor. She participated in hospital performances and began to cultivate a love for acting.[1]

The expectation for scholarship recipients was that British-trained young women would return to their respective colonies and assume leadership roles as matrons and ward sisters.[3] Cudjoe therefore returned to Trinidad in 1955 and worked for five years at San Fernando General Hospital.[4] She nonetheless "began to feel very restless" and searched for opportunities in the United States, since she was excited by the idea of working in the U.S. and had a sister in New York City.[1] Due to U.S. laws restricting immigration, however, she instead sought and found employment at Toronto General Hospital in Canada.[1] (A mere 2,598 immigrants from Trinidad and Tobago appear on official U.S. records between 1960 and 1965, in contrast to 22,367 between 1966 and 1970.[5])

Career change in Toronto

Cudjoe landed in Toronto on 13 December, 1960, and became a registered nurse (RN) in Toronto General Hospital's neurosurgical ward.[1][6][lower-alpha 1] In her adjustment to the Canadian practice of nursing, Cudjoe found the culture to emphasise administrative duties and rules over patient care, and became disappointed with the field as a result. She has recounted an incident involving a paraplegic patient, which she describes as the "one time she lost her cool" and which caused her to be transferred to another ward:[1]

[The patient] was asking me some questions, and I was just talking with him. But it was also time to change our shift. It was 4 o'clock and everybody was looking at the clock and you had to move. And... "Just leave the patient, come on, we have to change the notes," and so on... I lost my cool that one time. They called me and I said: Is this nursing? How could you do that? How could you just leave a patient who's needing... [to] be more concerned about the time and your statistics and so on?

Cudjoe began to look for other career paths. On the advice of a friend who had quit nursing to work at Canadian Broadcasting Corporation (CBC), she began studying at Ryerson University, initially to become a radio broadcaster. She attended for two semesters but returned to nursing due to financial constraints. In the meantime, she continued theatre through Ernie Schwarz's Studio Lab. Among her formative experiences from this time was Schwarz's production of Threepenny Opera at the University of Sudbury, in which Cudjoe was cast for the role of Jenny Diver. Cudjoe was also selected for training at George Luscombe's Toronto Workshop Productions.[7][8]

Black Theatre Canada

As it became apparent that opportunities for a Black actress in Canada were few and far between, Cudjoe had the thought that there may be a place for a Black theatre group.[7] She sought the help of Ed Smith, who had founded the Buffalo Black Drama Workshop and taught at the University at Buffalo. Smith and his group travelled to Toronto to stage a play by Ron Milner titled Who's Got His Own, in order to "see if Toronto is ready for Black professional theatre". The cohort at the Underground Railroad, a popular Black restaurant in Toronto, assisted with accommodation and venue. The work was presented for a single night at the First Unitarian Congregation of Toronto to a full audience. The enthusiastic response encouraged Cudjoe to pursue the theatre group.[8][9]

Vera Cudjoe's efforts led to the founding of Black Theatre Canada (BTC) in 1973. Through the project, Cudjoe hoped to give expression to Black—especially Afro-Caribbean—culture in Canada and to train young talent from the Black community.[8] Cudjoe locates BTC in the same momentum of community education-oriented projects in Toronto, including the Black Education Project (which prepared Black youth for higher education) and Kay Livingstone's Congress of Black Women.[10][11]

A number of early collaborators helped set up the company, among them June Faulkner, former general manager of Toronto Workshop Productions and Young People's Theatre. The first Board included novelist Austin Clarke, choreographer Len Gibson, and City Councillor Ying Hope.[8][9] For a short while in its beginning years, BTC operated in conjunction with Theatre Fountainhead (founded by Jeff Henry in 1974) as "Black Theatre Alliance", largely to fend off an attempt by the Canada Council for the Arts to fold the companies together.[12]

BTC's inaugural production was Roderick Walcott's Malfini, the story of three superstitious men on trial in purgatory for the murder of a boy.[13] The performances took place at Bathurst Street United Church, converted into a theatre with the help of Walcott and his technicians. The venue, now home to the Randolph Academy for the Performing Arts and the Bathurst Street Theatre, had until then never been used as a theatre.[14] The company went on to produce numerous other well-received and well-attended works, including the first Canadian production of A Raisin in the Sun (1978) and the Dora Mavor Moore Award-winning A Caribbean Midsummer Night's Dream (1983).[15] Leon Bibb's One More Stop on the Freedom Train (1984), a musical about the Underground Railroad in Ontario, toured Ontario in 1985 and played in the Canadian Pavilion at Vancouver Expo 86 as part of the Arts Against Apartheid Festival which featured Archbishop Desmond Tutu and Harry Belafonte.[16][17]

Under Vera Cudjoe's leadership, BTC placed heavy emphasis on community and youth education. In addition to performance training, BTC encouraged people to write plays, and held playwright competitions.[15] One playwright competition in particular—"Act Against Apartheid"—produced one-act plays and led to the creation of an umbrella group affiliated with African National Congress in Toronto.[18] Cudjoe's co-director Amah Harris, toured schools with plays for young people based on the Anansi folktales. These plays were some of the first multi-racial, cross-cultural 'learning-plays' to enter the Metro-Toronto school system. The school tours were so popular that BTC was invited to participate in the 1979 Afro-American Ethnic Festival in Detroit where they played to an additional 35,000 children.[8]

Nonetheless, BTC was consistently denied reliable funding and eventually folded in 1988.[8][19] Lack of access to performance venues was also a frequent challenge. The award-winning A Caribbean Midsummer Night's Dream was produced in the auditorium of 999 Queen St W (former Centre for Addiction and Mental Health facility demolished in October 2008).[15] In regard to the funding issue, Cudjoe has expressed: "We were interested in going to schools, we were interested in getting the little children oriented to black history, and we had all these other, sort of... things to do. [The Council was] insensitive to that. They made us feel that we were too community-oriented."[14] Arts journalist and collaborator Robin Breon has written:[8]

It is further to the everlasting credit of B.T.C. that these theatre productions, school tours, educational materials, numerous workshops and classes were produced with the most minimal amount of government and private support. Indeed, the organization has always been precariously financed and chronically underfunded by government agencies. However, in spite of this handicap their contributions have been steady, on-going and professional in quality.

Later years

Since the permanent suspension of Black Theatre Canada, Cudjoe has appeared in a number of works, including E.N.G. (1989), Rookie Blue (2010), and Jumping the Broom (2011).[20] She also spent two years in Ontario Theological Seminary.[10]

For her contributions, Cudjoe received the Queen Elizabeth II Silver Jubilee Medal and the African-Canadian Achievement Award in Arts and Entertainment.[21][22]

Legacy

Through Black Theatre Canada, Vera Cudjoe cultivated a deep legacy of artists, among them Delroy Lindo, Arlene Duncan, Leon Bibb, Jackie Richardson, Joe Sealy, Tom Butler, Philip Akin, Denis Simpson, Diane Braithwaite, and Jeff Jones.[8][15] Critically acclaimed dub artist ahdri zhina mandiela has commented:[23][lower-alpha 2]

myself, along with folks like djanet sears, luther hansraj, emerita emerencia, donald carr & others participated in btc as an informal ensemble for a few seasons. we worked with & under the tutelage of amah harris/co-artistic director with vera cudjoe. our work centered around harris’ anansi stories as well as some general performance & other production training/mentoring, and artistic jamming. jamming my poetry in ensemble performance was my intro to the group. i later worked as stage manager, performer, and even admin/office assistant with btc from ’79 – ’82. black theatre canada folded in the late 80’s . . . lack of funds & other support. unfortunate as it wd have been a real place of learning for many artists in the city, given that almost all black artists working between 1972 & 1985 passed thru their gates. any theatre or other live performance artists who started out in that day & are still working now have a btc story to tell.

Notes
  1. Cudjoe's qualifications were accepted without additional requirements by Ontario's provincial licensing standards. In most cases, however, immigrant nurses faced significant obstacles to skill recognition even with comparable training (Flynn 2016, 505).
  2. The quote below preserves the intentional lack of capitalisation in ahdri zhina mandiela's works.
gollark: I have a program for automatically scanning through all ender chests if anyone wants it!
gollark: Suuuure.
gollark: Pinging me is unacceptable. Orbital lasers have been activated.
gollark: No, you definitely pinged me.
gollark: Hi, why ping me?

References
  1. Moodie, Andrew (28 Aug 2012). "Vera Cudjoe on an education in England, arriving in Toronto, and her nursing career (Part 1 of 7)". Theatre Museum Canada on Youtube. Retrieved 5 Feb 2020.
  2. Trinidad and Tobago Independence Celebration Committee (1962). "Higher Education". Historical Development of Education in Trinidad and Tobago. Port of Spain: Government Printing Office. p. 21. OCLC 20802979 – via University of Florida Digital Collections. Prior to 1950, University Education was reserved for the very few Colonial Scholarship winners and those fortunate enough to "be able to afford it".
  3. Flynn, Karen C. (2011). "'The Sky is the Limit': Migration to Britain". Moving beyond borders: A history of Black Canadian and Caribbean women in the diaspora. Toronto: University of Toronto Press. pp. 77–78. ISBN 9781442685185.
  4. Flynn, Karen C. (2011). "'The Sky is the Limit': Migration to Britain". Moving beyond borders: A history of Black Canadian and Caribbean women in the diaspora. Toronto: University of Toronto Press. p. 138. ISBN 9781442685185.
  5. Kasinitz, Philip (1992). Caribbean New York: Black Immigrants and the Politics of Race. Ithaca: Cornell University Press. pp. 28. ISBN 978-0801499517.
  6. Flynn, Karen (2016). "Experience and Identity: Black Immigrant Nurses to Canada, 1950–1980". In Iacovetta, Franca; Epp, Marlene (eds.). Sisters or strangers?: Immigrant, ethnic, and racialized women in Canadian history. Toronto: University of Toronto Press. p. 505. ISBN 9781442625938.
  7. Moodie, Andrew (23 Oct 2013). "Vera Cudjoe on Ryerson, Studio Lab Theatre, and casting (Part 2 of 7)". Theatre Museum Canada on Youtube. Retrieved 5 Feb 2020.
  8. Breon, Robin (1988). "The Growth and Development of Black Theatre in Canada: A Starting Point". Theatre History in Canada / Histoire du théâtre au Canada. 9 (2): 216–228.
  9. Moodie, Andrew (28 Aug 2012). "Vera Cudjoe on Black professional theatre (Part 3 of 7)". Theatre Museum Canada on Youtube. Retrieved 5 Feb 2020.
  10. Moodie, Andrew (23 Oct 2013). "Vera Cudjoe on contemporary Black theatre (Part 7 of 7)". Theatre Museum Canada on Youtube. Retrieved 5 Feb 2020.
  11. Case, Frederick Ivor (1996). Brathwaite, Keren S.; James, Carl E. (eds.). Educating African Canadians. Toronto: James Lorimer & Co. p. 206. ISBN 978-1550285000.
  12. Knowles, Ric (2017). "Appendix I: Africanadian Theatre; Notes to Pages 200-201". Performing the Intercultural City. Ann Arbor: University of Michigan Press. pp. 199–202, 242. ISBN 978-0-472-12306-3.
  13. "Vera Cudjoe on collaborators and BTC's inaugural production of Malfinis (Part 4 of 7)". Theatre Museum Canada on Youtube. 23 Oct 2013. Retrieved 5 Feb 2020.
  14. Moodie, Andrew (23 Oct 2013). "Vera Cudjoe on the history of Black Theatre Canada (Part 5 of 7)". Theatre Museum Canada on Youtube. Retrieved 5 Feb 2020.
  15. Moodie, Andrew (23 Oct 2013). "Vera Cudjoe on important collaborators and productions (Part 6 of 7)". Theatre Museum of Canada on Youtube. Retrieved 5 Feb 2020.
  16. Lewis, Jules (11 Jan 2017). "Black Canadian Theatre". The Canadian Encyclopedia. Retrieved 7 Feb 2020.
  17. Hawthorn, Tom (1 Nov 2015). "Singer Leon Bibb was the Voice of Civil Rights". The Globe and Mail. Retrieved 7 Feb 2020.
  18. Siddiqui, Haroon (19 Dec 2013). "Recognizing Canadian Heroes of Mandela's Rainbow Coalition". Toronto Star.
  19. Boisvert, Nick (13 Feb 2019). "Toronto's first black theatre companies are gone, leaving a void that still hasn't been filled". CBC. Retrieved 7 Feb 2020.
  20. "Vera Cudjoe: Biography". IMDb. Retrieved 7 Feb 2020.
  21. "Black Theatre Canada fonds: Biographical history". Archives Association of Ontario. Retrieved 7 Feb 2020.
  22. Ho, Tanya (13 Mar 1999). "African-Canadian awards honour achievers". Toronto Star. p. 1. ISSN 0319-0781.
  23. Gingell, Susan Alison (2006). "Jumping in Heart First: An Interview with ahdri zhina mandiela". Postcolonial Text. 2 (4): 11–12.
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