David Oyelowo, a man who thrives on the challenges of complex narratives and characters, believes theatre is the perfect space for dramatic expression. He laments the state of drama in film, stating that “drama has almost become a swear word within the film industry.” He sees a trend toward formulaic storytelling in cinema, where films prioritize commercial success over depth. “It’s more like, ‘Tell me obviously what it says on the tin and I will sell that tin,’” he observes.
Oyelowo, who rose to fame through his compelling roles in films like ‘Selma’ and ‘The After’, has found a different kind of fulfillment in returning to the stage. He is currently directing a production of Shakespeare’s ‘Coriolanus’ at the National Theatre, a place he describes as “one of my favorite places to be.” He views the National Theatre as a symbol of everything he loves about the UK – its culture, its diverse communities, its rich artistic heritage. This return to the stage feels like a homecoming for him, especially as he fondly remembers his early experiences in a National Theatre youth program called Connections.
Oyelowo connects with Coriolanus, the play’s protagonist, on a deeper level. He sees him as an underdog, a complex character with a compelling journey. “I love an underdog and Coriolanus is a much better play than people give it credit for,” he says. He admires the challenge of sustaining the intensity of the play throughout its five acts and finds the character’s multifaceted nature both intriguing and relatable.
The play’s political themes resonate with Oyelowo, who sees parallels between Coriolanus’ rise and fall and the modern political landscape. He observes how the West is increasingly focused on personality over policy in politics. “It really looks at the cult of personality in politics. Look at the political landscape in America right now – people are focusing less on policies and more on personalities.”
Oyelowo’s deep commitment to meaningful storytelling stems from his belief in the power of art to connect with audiences on a profound level. He sees storytelling as a privilege, a tool for bridging divides and fostering understanding. “I consider storytelling an immense privilege, because I think my job is to hold a mirror up to humanity,” he says. “It is one of the most powerful tools in the world for breaking down prejudice, for healing.” He believes that this kind of storytelling is becoming increasingly rare in the world of film, where studios are prioritizing disposable content over depth and substance. He contrasts this with the rawness and vulnerability of theatre, where actors are fully exposed and audiences are drawn in by genuine human connection.
Oyelowo’s stance on the state of storytelling reflects a larger societal shift, where the focus is on quick entertainment and immediate gratification. He urges artists to resist this trend and strive for art that lasts, that resonates with audiences long after the curtain falls. “I do think there’s a social responsibility to try and not make disposable art,” he emphasizes. He points to his own commitment to his craft, noting that it took seven years to make both ‘Selma’ and ‘A United Kingdom,’ and that he’s been on a 30-year journey to reach his current production of ‘Coriolanus.’
In the end, Oyelowo believes in the power of artists to influence the world and inspire meaningful change. He sees the role of the artist as vital, particularly in the face of a political landscape that is often characterized by compromise and shifting ethical boundaries. While he acknowledges the complexities of politics, he remains steadfast in his belief that artists have a unique responsibility to challenge the status quo and advocate for a better world.
