Although major playwrights such as Derek Walcott, Wole Soyinka, or Errol John had early work staged at the Royal Court in London in the 1950s and 1960s, it was a later generation – Mustapha Matura, Michael Abbensetts, Winsome Pinnock, or Hanif Kureishi – whose works first began to stake the new and home-grown territory of black and Asian Britain, offering new, polyphonic themes, and drawing new audiences. Yvonne Brewster, stage director, teacher, writer, and founder of theatre company Talawa, and several female playwrights – debbie tucker green, Zindika, and Bernardine Evaristo – were equally active, forming influential collectives and exploring a non-naturalist approach to subvert rigid stereotypes of race and the black female body. This chapter examines the theatre landscape since the 1980s by focusing on the genesis of specific companies, collectives, and productions to show how these different initiatives sought to articulate their positionalities and navigate the politics of the time. The chapter also relies upon archival resources including theatre and production history.