This October, Black History Month celebrates its theme Reclaiming Narratives. Throughout the month we’ve been talking to to Black performers and creatives in the theatre industry, asking them to share their inspirations and journeys to the stage. Today we’re speaking to John Douglas Thompson, a multi award-winning English-American actor, currently starring in the Royal Shakespeare Company’s production of Othello.
Alongside being recognised as “one of the most compelling classical stage actors of his generation” (New York Times), John is well known for his television and film work – most notably Law & Order, Michael Clayton, Let Them All Talk, and for playing Emmett Till’s uncle Mose Wright in the 2022 film Till.
Who are your inspirations?
My inspirations are many, but as it relates to my playing Othello, my inspirations would be Ira Aldridge and James Earl Jones. Their journeys have being a source of comfort, guidance and inspiration.
How did you get into theatre?
I asked a young woman on a date to see a play, but she never showed up, so I attended the play on my own. The play was called Joe Turner’s Come and Gone by August Wilson. I was so moved while watching the play, that I knew I wanted to be an actor by the end of it. It took another 6 and a half years since I was working in another industry, selling computers to the financial industry. But eventually, I was let go from that job and decided to pursue my dream of acting, and enrolled at a drama school in Providence Rhode Island called the Trinity Rep Conservatory. So essentially I got into theatre because I was stood up on a date!
How did your family and friends support your career?
My friends and family were quite shocked that I had decided to become an actor. Most of their support initially was telling me “don’t quit your day job”, and to get back to selling computers. They were terrified for me. But eventually, over the years they saw that I was determined and gently started to encourage and support my efforts. Now they show up for me in the most beautiful and loving ways, and indeed provide a source of strength and energy – allowing me to reciprocate that love through performance.
How does it feel to be bringing Othello to the stage in 2024?
It feels wonderful and challenging. The world is certainly in a different place than it was when I encountered the role 16 years ago. Issues of race, gender, patriarchy, immigration, among others, have become quite polarised, that the atmosphere for doing the play has changed. So it will be interesting to see how this almost 500 year-old play falls on contemporary hearts and minds. But Shakespeare always seems to meet the moment, so as challenging as these times are, they are also quite exciting and necessary times to bring Othello to the stage.
What makes the play relevant to today’s audiences?
The subject of love, friendship, racism, trust, betrayal, violence, and being a foreigner/outsider are all very topical to today’s society – dare I say, perennial, and most definitely universal. The lightness and darkness of these issues are also explored within the context of the play Othello. They seem to be elemental to the human experience and reflective of the human condition. In that sense, the play is entirely relevant to today’s audiences. Showing Shakespeare at his best by his willingness to explore these topics in all their rawness, contradiction and ambiguity – using the classical to connect with the contemporary.
This year’s Black History Month is themed around ‘Reclaiming Narratives’. Why do you think that’s an important way of approaching Black History?
Reclaiming the narrative is the idea of reclaiming our story and stories. Our black history is extraordinary and a source of inspiration to our culture and ourselves, and the rest of the world. We have the writers, the politicians, the thinkers, the academics, the artist, and most importantly the will to reclaim this on all fronts. It is indeed important for our generation and the generations before us, but most importantly the generations behind us. They must see us reclaim our narrative, so it can be a perpetuating force as we move into the future.
How do you feel the theatre industry can support black creatives?
My answer to this would be to bring more diversity within the theatrical organisations from top to bottom. Stage more productions by black creatives with stories centring blackness, and the many variations of the black experience.
What advice would you give to young black creatives dreaming of working in the industry?
Work hard, make a commitment to get training, apprenticeships. Write down your stories, find the play that already exists in your life. Seek and collaborate with like-minded artist, tell your stories wherever and whenever you can. Be self-sufficient, and most importantly, be kind and generous to yourself and others, as this will create a revolving door of help, opportunity, collaboration and love.
Will Keen as Iago and John Douglas Thompson as Othello. Photo by Johan Persson.
Catch John Douglas Thompson in Othello, now playing in the Royal Shakespeare Theatre in Stratford-upon-Avon until 23 November – find out more and book tickets on the RSC website.