WHERE TO NOW Reading Comes to London Performance Studios

London Performance Studios and Unfinished Histories will present an exclusive staged reading of Martin Patrick’s play Where To Now as part of the Radical Rediscovery: Homosexual Acts & Beyond exhibition public programme. This groundbreaking play written in 1987 explores the existential journey of a successful Jamaican who gave up everything to be a Great British gentleman and scholar. The 1981 Brixton riots shatters his life as a gay man in a 10-year relationship with a handsome Englishman. After ending their partnership, he starts a relationship with a sassy Black American guy, to find his identity in a Black family. The 1985 riots in Britain bonds his new Black family and they launch Black Arts festival for solidarity, but self-pride is a lesson still to be learned. 

Where To Now selected for Gay Sweatshop in 1987, was pivotal in bringing the Black, gay, male experience to the London stage. Research suggests that it is the first play written by a Black British gay playwright to be staged in London and possibly in the UK. This 2025 production is directed by Lesley Ewen, the cast includes Dickie Beau, Cyril Nri, Harry Omosele, Marcus Amalgo and Rebecca Scroggs. The event is organised by Unfinished Histories as part of the Associate Artists Programme.

Unfinished Histories, founded in 2006 by Dr Susan Croft and Jessica Higgs records and highlights the innovative alternative theatre of the 1960s, 70s and 80s, especially the pioneering contributions of marginalised communities, including Black, Asian, disabled, and LGBTQ+ communities, women and other politically engaged theatre groups, ensuring their transformative legacy is recognised and remembered. Says Dr Susan Croft: 

“When we programmed Martin Patrick’s Where To Now for the first Unfinished Histories Playreading Marathon in July 2025 it had taken some time finding a gay Black British male playwright: there weren’t very many in the 70s and 80s, the period UH focuses on. But it became the out-and-out success of the day, challenging stereotypical thinking about intergenerational and interracial relationships, including those of fathers and sons, with its moving, nuanced, complex portrayal of its central characters. I am hugely looking forward to seeing it realised as a staged reading and before long, I hope, to a fully staged revival.”