The bicentenary of the abolition of African slavery in 2007 has turned the spotlight back on the uncomfortable shared history of Britain and the Caribbean. Over the years, both on the stage and in film, enslaved Africans have often been depicted as childlike domestics and labourers, placidly accepting their captivity with songs and smiles as they danced the night away at the end of the master's garden. Aunt Matilda in the kitchen, baking and minding the children while old faithful, her male counterpart of various names, watched over master's property and kept his boots shiny.

The only thing that spoilt the picture was the occasional disruptive slave who was a runaway or a thief. Sometimes the film-makers of the past let us know by their skin tone, the good Negros from the bad, but always without exception they all spoke only in the same broken English dialect designed to emphasise their basic lack of intellect and education. More recently we have seen slaves in periwigs and silks, slaves tall and dignified in the courtroom but in all cases they have been portrayed as reliant on a white man for their hopes and dreams and most importantly, their freedom.

Whether escaping a tyrannical master, receiving justice or reward, even abolition itself, the story tellers have always been keen to show us the benevolent face of the white liberal coming to the rescue without which the African would be helpless.

Using the letters and personal accounts of the slaves in the United States and the Caribbean, together with news articles and documents from the slave owners themselves, the story of Celia has been pieced together to form a more accurate and comprehensive depiction of the times, exploring the complexities and human level of this dark period in history.

This story is not your usual slave story. It reveals an illusive and incredibly resourceful community, committed to family and freedom. For 400 years enslaved Africans existed in spite of their conditions behind enemy lines, a formidable and relentless force of resistance. When freedom finally came it was as a result of the struggle of each successive generation against injustice. It was not their captors benevolence but the will of each individual for life and liberty that finally broke the system of brutal exploitation.

Malcolm Frederick was approached to direct Ceila whilst he was working on 'Splendid Mummer', a play about life of Ira Aldridge (the first black actor to perform Shakespeare on the British stage), at the Old Vic in July 2007. Under Malcolm's direction Celia made its West End debut at The New Players Theatre in May 2008:-

View the promotional trailer for Celia produced by Darking Productions and download the full theatrical production programme here.