Here’s a bold truth: Black artists in Newfoundland and Labrador have long faced barriers in bringing their stories to the stage—but a groundbreaking new program is changing that. And this is the part most people miss: it’s not just about training; it’s about paying artists while they learn, ensuring their voices are heard without financial strain. The Black Theatre Training Program, launched by Centra Cultural Collective, a non-profit dedicated to uplifting the Black community, is a five-stage initiative covering playwriting, production, stage design, stage management, and directing. But here’s where it gets controversial: while the program is celebrated for its inclusivity, some question whether it’s enough to address systemic gaps in the industry. Is this a step forward—or just a temporary fix?
Founded by Nicole Obiodiaka, a Nigerian playwright who moved to St. John’s five years ago, the program was born out of her own struggles. While working on her play Beauty Behind the Norms, set in rural Nigeria, Obiodiaka encountered challenges unique to Black theatre artists in the region. “We’re bringing stories from outside Newfoundland into this space,” she told CBC News, “and we quickly realized the barriers Black artists face here are unlike anywhere else.” Her solution? A program that not only teaches skills but also pays participants, thanks to funding from organizations like the Atlantic Canada Opportunities Agency (ACOA), The Art of Being Black (TABB), and the Arts Infrastructure and Programming Fund.
One standout component is the playwriting workshop, led by mentors like Santiago Guzman, a Mexican-born director who moved to Newfoundland over a decade ago. Guzman, who founded TODOS Productions, recalls his own frustration as a theatre student: “I couldn’t understand why I never saw people like me on stage.” The workshop is split into two parts—one for artists refining developed scripts, and another for beginners learning the basics of stage writing. But here’s the question: Can a single program truly bridge the diversity gap in Canadian theatre? Or does the industry need a deeper reckoning?
What’s undeniable is the program’s immediate impact. By paying artists to participate, it removes a major barrier to entry, allowing talent to flourish without financial worry. Yet, as Obiodiaka notes, this is just the beginning. “We’re not just training artists; we’re creating a pipeline for Black stories to thrive,” she says. But is that enough? We want to hear from you: Do programs like this go far enough in addressing representation in the arts? Or is there more work to be done? Let us know in the comments below.
