Comments for Nitro, Black Music Theatre

Comment on Interview with Rex Obano by Debo

Debo — Wed, 18 Jan 2012 12:40:36 +0000

Many thanks Lorna and Sylvia for your words!
Best wishes
Nitro

Comment on The K. Boateng Academy of Performing Arts by KEVIN BECKLES

KEVIN BECKLES — Tue, 10 Jan 2012 10:01:44 +0000

Hello,
It is my mothers 70th Birthday soon and we would like to take to see a play/drama/musical
can you tell me when your performances are next on.

Kind Regards

Kevin Beckles

Comment on Interview with Bola Agbaje by Cleveland Birrueta

Cleveland Birrueta — Tue, 03 Jan 2012 21:16:59 +0000

I like studying and I think this website got some genuinely useful stuff on it! .

Comment on Interview with Bola Agbaje by Sid Chioma

Sid Chioma — Tue, 03 Jan 2012 19:43:50 +0000

Very interesting topic, thank you for posting.

Comment on Nitro Ingnites Showcase + Livestream! by Johnie

Johnie — Tue, 30 Aug 2011 04:17:25 +0000

Grade A stuff. I’m unqusetinobaly in your debt.

Comment on Interview with Rex Obano by Sylvia Tella

Sylvia Tella — Wed, 11 May 2011 14:54:43 +0000

What a great surprise and honer to see that behind a lovely cartoon that brings people of color it to the world of exsistance on TV and DVD Books etc a Strong Black man Thank God for your gift and Blessings he gave you.
I am in the Entertainment Business please Google me
If you ever want ay voice or musical voice overs please contact me.

Comment on Interview with Rex Obano by Lorna Blackman - the Stylisters Children and Youth Voluntary performing arts group

Wed, 11 May 2011 12:37:36 +0000

Your words are very encouraging. I operate on a grassroots level engaging children of colour who have never been to the Southbank or a West End production. I have trained kids making sure that they get a qualification through the LAMDA qualification.

It is difficult operating with no funding but our children production BOB Marley the Kids Salute You at the Bernie Grant Centre – focuses on culture

I wish you all the best with Starstruck God Bless

Comment on Nitro in the Community by Debo

Debo — Fri, 07 Jan 2011 11:39:19 +0000

Hi Angela,

Thanks for your note, comments and thoughts.

We had a workshop in collaboration with Tangle at the end of December that would have been ideal for you I think. We don’t have another workshop penned in yet but as soon as we do it will be posted to the site (and also our facebook and twitter sites).
I’ll also take note of your email so we can get in touch too if something suitable comes up.

Best wishes and good luck with the studies
Debo

Comment on Nitro in the Community by Angela Bent

Angela Bent — Thu, 06 Jan 2011 23:03:13 +0000

Hola Everyone
Great news to hear about sister Bola, went along to hear her give a talk at the Royal Court theatre and was truely impressed by her passion and boldness, she speaks about life what is happening out there and I must say i felt very relieved to know that the future of Black theatre will be left in safe hands!!. Really looking forward to supporting more of British Black Theatre this year. I am a student at Central School of Speech and Drama and currently in my final year of the BA Drama, Applied Theatre and Education course, we are getting some serioues Black theatre practioners coming through, but we need more black students at drama schools, it is a subject that i will be doing for my dissertation. Anyhow love the website! do you have any workshops or acting classes happening this year?

Comment on The Great Opera Conspiracy? by felix

felix — Tue, 23 Nov 2010 21:41:12 +0000

Gary – I drew the comparison between opera and jazz because the audiences were exactly the same at a certain point – 2.74 million each in 1991. The divergence of both attenders and funding levels since then has been remarkable. Yes, I could have chosen other art forms to compare but thanks to the report by the Association of British jazz Musicians the figures made a clear illustration of how weight of advantage leans so heavily on artforms patronised largely by the establishment. Opera may have had a history of working class appreciation but that has not been much in evidence over the past 4-5 decades. And I’m not talking about the excellent and exciting work carried out by companies such as Tête à Tête etc, who are genuinely trying to find new audiences and new ways of exploring opera/music-theatre.

I must admit I oscillate between being very reasonable about this, by considering my many friends and colleagues working in these large opera houses, all truly dedicated and trying their very best etc; and then thinking, “if ACE simply cut the ROH and ENO there would be a predictable outcry then the city and big business would step in, donate the equivalent of a junior futures dealer’s Xmas bonus and ensure normal service in their personal opera clubs (for that is surely how they view both houses).