This chapter discusses Hamile: The Tongo ‘Hamlet’ (dir. Terry Bishop, 1965), from Ghana, with an all-black cast, and the Boyokani Company’s Hamlet (dir. Hugues Serge Limbvani, 2007), from the Republic of Congo, which, with the exception of one white actor, also deploys a black cast. Hamile and the Boyokani Hamlet are preoccupied with a thematics of place, whether this shows itself, in the former case, in the will to affirm the élan of a newly formed nation state or, in the latter case, in the ventilating of African-centred questions about woman and the supernatural. Developing such thematics, both films assert varieties of what has been termed ‘Africanity’, a repository of shared discourses, experiences and inheritances, and find that a British/European play can indeed be made to work in an African milieu.