Hardtalk. Kwame kweiarmah, welcome to hardtalk. , ~ , c, kwame kweiarmah, welcome to hardtalk. , ~ a kwame kweiarmah, welcome to hardtalk. , a c, hardtalk. Thank you so much for havin hardtalk. Thank you so much for having me hardtalk. Thank you so much for having me it hardtalk. Thank you so much for having me. It is hardtalk. Thank you so much for having me. It is a hardtalk. Thank you so much for having me. It is a great having me. It is a Great Pleasure having me. It is a Great Pleasure to having me. It is a Great Pleasure to have having me. It is a Great Pleasure to have you. | having me. It is a great i pleasure to have you. You having me. It is a Great Pleasure to have you. You have beenin pleasure to have you. You have been in the Theatre Business as an actor, writer and director for best part of three decades. Ijust for best part of three decades. I just used that for best part of three decades. Ijust used that phrase, some would use and call it a cliche about the culture wars
the p. i have spoken in the past two greg doran at the rfc and actors like rupert everett, rupert everett has a strong feeling that we are getting far too hung up on this notion of authenticity and lived experience when it comes to casting, you do not have to be gay to play the part of a gay person on stage. i wonder whether you share that feeling or whether you think authenticity requires that sort of thing? i authenticity requires that sort of thin . ? ~ authenticity requires that sort of thin ? ~ , , authenticity requires that sort of thin ? ~ , , ., of thing? i think it depends on the -la , of thing? i think it depends on the play, depends of thing? i think it depends on the play, depends on - of thing? i think it depends on the play, depends on the - of thing? i think it depends on | the play, depends on the artist and the audience. as far as i m concerned when you walk into a theatre you hang your literal boot 5 up at the door. which, for me means most people should have acces
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