From
JOE GUY
by Roy Williams
Joe Guy by Roy Williams was presented by Tiata Fahodzi in association with Soho Theatre and the New Wolsey Theatre. It was first performed at the New Wolsey Theatre in Ipswich, England on 18 October 2007, directed by Femi Elufowoju jr with the following cast: Abdul Salis (Joe Boateng), Mo Sesay (Buddy/Carlton ‘The Blaster’ Thomas/Jude Boateng), Pippa Nixon (Juliet Vail/Lauren Miller), Heather Craney (Monique Christie/Helen Blake), Syan Blake (Naomi Brown), Alexis Rodney (Marcus Pryce), Michael Brogan (Tel Hanson/Sarge) and Joseph Morgan (Rod Campbell).
Joe Guy tackles the inherit tension between the Black Caribbean and African community in Britain. The play tells the story of Ghanaian footballer Joseph Boeteng who was tormented by British-Caribbean youths when they insulted his African identity, accent and studious nature. Joseph decides to ditch his Ghanaian heritage and reinvent himself as a black urban street-slang-speaking arrogant ‘Joe Guy’. As Joe Guy, his life rapidly changes and brings him into contact with Premier League clubs, one-night stands, increased popularity and media attention. A one-night stand with Lauren has repercussions which effect Joe’s reputation, relationship with his son, and his football career. The play follows Joe over the course of ten years (from age eighteen to twenty-eight) depicting the rise and fall of his football career as he moves further away from the spirited kind-natured man he once was.
About the Playwright
British playwright Roy Williams OBE, was born in Notting Hill to Jamaican parents. At 25 years old Williams graduated with a theatre writing degree from Rose Bruford College and has continued writing ever since. Williams is an award-winning writer renowned for writing plays which present the life experiences of working-class Londoners. Roy is arguably most famous for his play Fallout which was loosely based on the Damilola Taylor murder in November 2000, which he later adapted for television. Williams has written over fifteen plays which have all been produced across England, and has worked at theatres including the National Theatre, Soho Theatre, Royal Court Theatre, Bush Theatre and Theatre Royal Stratford East.
Other published plays by Roy Williams include: Sucker Punch, Days of Significance, Fallout, Sing Yer Heart Out For The Lads, Clubland, The Gift, Lift Off, Starstruck and No Boys Cricket Club.
Summary (Extract)
At eighteen years of age, Ghanaian-born Joseph Boeteng transitions into the black urban slang-speaking ‘Joe Guy’.
JOE is alone on stage. He faces the audience.
JOE: ‘Yes, Joe, what up blood!’ No –
[He tries again, but struggles to overcome his Ghanaian accent.]
‘Joe, my man, what you say, bruv’ – not bruv, bro, say bro! ‘Joe, my man, wass up, bruv.’ Bro, not bruv! ‘Wass up, blood.’ ‘Blood, man, blood, you get me, seen?’ Yes, yes, Joseph, no, no, Joe, Joe Guy, me name’s Joe Guy. Yes, blood, yes, man, yes! ‘Wass up, blood, blood, blood, blood, blood, blood! Wasss up, blood!’ (Jubilant.) Yes! Oh, yes! ‘Wass up, blood! You awright, yeah, man! You know what I’m sayin’, you get me yeah, gal fine man, she buff and she move her batty like, yeah, man, me safe, you cool, dread, me cool, man, nuff respect to yer, bruv, me down wid yer, you hear me, me down. Watch me fly now, you see! Me look cris, yes! Hey, yungsta, ware you go? You cool? Me cool, man! Oh man, that is heavy, you go ‘low dat! Oh my daze! See how he reach for me, nuff times, you hear what I’m saying, you get me, seen! Kiss me neck back!’
[His once strong Ghanaian accent is now fading.]
‘Move from me wid yer batty hole, Marcus, and yer stink breath, move, step! Is who you looking at? You scoping me? You want try summin? I don’t see no one else here, Marcus, it’s you one, looking at me! ’Bout you eyeballing me? You tink I go ’low dat, you dizzy or what? What do I look like to you, what do I sound like, some booboo big rubber-lips monkey-faced African bin bag? Dat ain’t me no more, nosir! I’m oneyer you, I’m better dan you! I’m the new and improved model. Come now, dread, bring yerself, or is you a pussy? You pussy? I’ll spark you in the fucking face, you nuh! From now until kingdom come, I go mash you up! Then I go sex yer woman, ca’ she looking tit! Go ride her, bareback, then I go dash it, and go laugh in yer face, tell you about yer batty hole! When I call, you best come, get me? Do you get me, Marcus! When I call, you come, that’s the way it is now! That’s the way it’s gonna stay. I’m running things now – you get fresh you get cut. You come reach for me now, I go school you now, you pussy hole, rass clart, boomba hole, batty bwoi! Seen? Aiiiiieeee! You is the African one now. Don’t step up unless you gonna jump!’ (Pleased with himself.) Yes, that’s good.